Forty-eight PRC members are participating. That means there are 48 perspectives or visions at work. That randomness isn’t incidental. It’s the point, and that gets at what may be the greatest strength of photography as a medium: its capacity to engage with the vast variousness of the external world (sometimes the internal world, too). “Your Work Here” predicates itself on that variousness.

Most of the photographs were taken this year, but not all. The earliest, Doug Johnson’s “Dawn,” dates to 1973. “Dawn” stands out by being black and white (most “Work” photos are in color) and, whether intentionally or not, pleasingly allusive. It chimes with Imogen Cunningham’s “The Unmade Bed.”

Some other images here can also be seen to nod to predecessors. The enchanted tonalities of Bruce Hamilton’s “Peaceful Paddle” are kin to those in Joel Meyerowitz’s landmark collection “Cape Light.” Jennifer Erbe’s “Linger,” with its black-and-white view of two forks, recalls André Kertész’s classic solo view of said implement. Within the show, “Linger” also connects, both kitchen-wise and very handsome-wise, with Judith Aronson’s “Eggs, Spoon, Plate.”

“Dawn,” showing a bed in morning light, has its own in-the-show connection, with Heidi Straube’s “The Bath,” which shows an old-fashioned tub lit to almost spectral effect. Making connections like this is part of the fun “Your Work Here” offers, and one imagines it was part of the fun — and challenge — for the PRC’s creative director, Jessica Burko, in hanging the show.

An announcement of connectivity comes with the very first photograph (assuming a visitor goes through the gallery clockwise). Several patrons of a cafe fill the foreground of Kay Mathew’s “North Beach.” Filling the background is a wall covered with several dozen photographs. So it’s a photograph about photographs. There’s also a jukebox in the picture; and, really, seeing a jukebox is almost (almost) as good listening to one.

Or, regarding connectivity, consider the letter B. Begin with Straube’s bathtub. Add the quite-charming bird found in Paula Aguilera’s “Lilac Breasted Roller.” Also add butterfly, in Glen Scheffer’s “Wings,” butterfly wings being the kind we see a child wearing. Include boxing glove, along with the young man wearing it, in Kelly Conlin’s “Ready.” Another B: the ballyard in Michael Hall’s “Fenway.” Except there’s a twist: The emphasis in this aerial shot is on the greenspace of that name which shares the same neighborhood as the place where the Red Sox play. As for Sophia Koevary’s “Balloon Baby,” the B’s are self-explanatory.

Moving from B to C, colorful cars are to be found in David Ricci’s “Pileup” (toy cars, though, Matchbox-size, which adds to the already-considerable sense of fun) and Sean Sullivan’s “1957 Chevrolet Corvette.” The vibrancy of said vehicle’s orange-red interior isn’t so much a matter of chromatic documentation as vehicular imperative: Floor it!

Trees are another sub-category, and one Burko has further fun with. Frank Armstrong’s “Redwood National Park, California” faces Bruce Myren’s “Privately Owned American Elm,” Parrish Dobson’s “The Oldest Apple Tree on the Island,” and Porter Gifford’s “Beech Bark Orthography.” On another wall, Robert Morin’s “Fish Shack Shingles, Menemsha” is not only a very pleasing study in grain and texture. Its (literal) woodenness pays ex post facto tribute to arboriculture.

With all due respect to the other 46 photographers, the prize for best title has two contenders. Jeffrey Heyne, with “Hapi Region of Comet 67P with Mine Excavator and Copper Ore,” which could be the title of a Sun Ra composition; and R. Lee Post, with “Within: Curiosities in Rust.” Not only is that verbally arresting. It’s symmetrical, too. Don’t be distracted by that colon. It’s preposition/noun/preposition/noun.

The man in Steve Dunwell’s “Sample Weaver” might be seen as a stand-in for visitors to “Your Work Here 2023.” He looks at the machinery he’s operating and his handwork so intently. It’s an intentness worth bringing to bear here, too.

YOUR WORK HERE 2023: A PRC Members Exhibition

At VanDernoot Gallery, Lesley University, 1815 Massachusetts Ave., Cambridge, through Jan. 20. 617-975-0600, prcboston.org

Mark Feeney can be reached at mark.feeney@globe.com.