and her neighborhood in L.A.) The Polaroids, meanwhile, tell some unexpected tales. Some of her subjects, then at the pinnacle of fame, have since gone down strange paths. Cheryl Hines, whom she shot for Entertainment Weekly, was known at the time for “Curb Your Enthusiasm.” One Polaroid shows a concept that wasn’t ultimately used, with Hines’s mascara running down her stoic face—a defiant-martyr look that carries an unintended irony, now that Hines is notorious as the wife of Robert F. Kennedy, Jr.Other Polaroids capture the musical moment: a grinning Ghostface Killah (“He was very bummed that he was smiling”); a shirtless Coolio (“Coolio was late”); a frilly Nicole Scherzinger, then the ascendant lead vocalist of the Pussycat Dolls. Kid Rock, whom she shot for Spin, at his property in Michigan, was known as a flashy country rocker and not yet as a Trumpist firebrand. The shoot, Shur said, involved a lot of “loud” poses of the artist in his “ugly leather jacket and hat,” but the Polaroid catches him looking uncharacteristically subdued at his keyboard: “I was unsure if he was going to be down to take those quieter pictures, and he was.”Kid Rock, 2003.Amanda Seyfried, 2008.Some of the male actors evoke the indie-boy cool factor of the time: Adam Brody, Jason Schwartzman, Peter Sarsgaard. The “Scrubs” star Zach Braff, who defined a certain twee-depressive counterculture with his 2004 film “Garden State,” posed for Interview in a tweedy jacket. “I had a very innocent, professional crush on him at the time,” Shur recalled with a sigh. “I was, like, In another life, me and this nice Jewish boy from New Jersey could have been great.”Zach Braff, 2006.Mark Zuckerberg, 2007.Mark Zuckerberg was still a hoodied Harvard-dropout tech phenom—not yet known for his Cuban-link chains and congressional testimonies—when Shur photographed him for Wired, at Facebook’s headquarters. Unlike many of her other subjects, Zuckerberg wasn’t a performer, and he was “difficult to break through to,” she recalled. In the Polaroid, he has the same dead-eyed stare that he had in every other picture she took. “I have a couple different Polaroids of him, and you almost can’t tell the difference.”Outkast, 2006.In the shoots she recalls most fondly, the subjects were collaborators, willing to go to eccentric places. Shur shot the fashion designer Jeremy Scott in her back yard at the time, in Echo Park, in front of her cow statue. Mike Gordon, the bassist for Phish, ended up in a bathtub with his instrument. “The progression to get to that shot was impactful for me personally,” she said. “I didn’t always know exactly how to ask for what I wanted, and he kind of offered it up.” Similarly, Danger Mouse decided that he wanted to pose with a guy dressed as the Grim Reaper and make grilled cheese: “That’s one of those pictures where I really felt, like, I fucking nailed this.”Danger Mouse, 2005.Not all Shur’s Polaroids from the naughty aughties are of hip young talents. For People, she shot Tony Curtis, then eighty-three, lounging in his pool in Nevada and thrilled to his classic-Hollywood charisma. “There were old movie posters of him everywhere, and he was just so handsome,” she said. “It was real movie-star shit.” Photographing Jane Goodall, for Discover, Shur was determined to appear poised and professional, but “I remember being really frazzled,” she recalled. “We shot in a hotel room, and I was worried about her tripping on wires and cords. I was, like, Please, please, be careful! She said something, like, ‘Honey, I live in the jungle.’ ”Jane Goodall, 2003.