Street photographers working with disposable cameras in the 1990s often described a peculiar freedom: because the equipment itself was cheap and expected to be thrown away, the medium stopped feeling like something requiring reverence and became, almost overnight, a space for genuine play. What made the shift possible was less the camera's technical limitations than photographers' collective decision to abandon the assumption that a photograph's value depended on treating the process as ________.

Blank (i)
A. hallowed
B. evanescent
C. tractable
D. egalitarian
E. inviolate