The 80 pictures in this collection, as with much of Matthew Porter’s work, create an experience of cinematic romanticism tempered by the realities of our time. Figures squint into the sun, make calls, and pause to look over their shoulders as they cross the street, bathed in the afternoon glow of an urban sunset. Porter’s pictures – which mix fact and fiction - are at times amalgamations of location shots and studio set-ups resulting in a mood that is as truthful to reality as the “sunshine noir” that Porter references in the series title. In an environment where muscle cars fly over deserted streets and a phone is not just a phone but a weapon, Porter’s graphic eye makes a strong case for the contemplative image in a picture-saturated culture.