Like everyone who shot on the handful of 20x24s Polaroids made, Dorfman started by renting the camera. She shot portraits of anyone who would pay her, and slowly her style and aesthetic started to evolve.
“I seem to be the kind of person who doesn’t know where she’s going, but about three quarters of the way there I say, ‘Oh, I’m doing such and such,’” she said. “I would be too afraid to think about [a direction] for fear I would ruin it or that I would be too self conscious.”
After thousands of shots on the giant Polaroid, some of which hang in permanent collections at places like the National Portrait Gallery, and lasting influence in the photo world for her work, Dorfman refuses to categorize herself as a “name.”