This thesis discusses the early photographic work of American artists Stephen Shore and William Eggleston, with special emphasis on the representation of the 'everyday' in their oeuvres. First of all, an overview over their photographic work is given and they are placed in context of documentary, landscape and art photography. Further, their role in helping color photography to becoming an accepted medium in the art world is discussed, as they are both considered two of the most important color photography pioneers of the 20th century. In the following part of the thesis, several relevant aspects of the 'everyday', such as Marc Aug's non-places or J.B. Jackson's studies of the vernacular landscape, are presented. A detailed image analysis forms the concluding part of the thesis. There, special emphasis is put on previously discussed concepts of the 'everyday'. As a result, dominant motifs of the banal and mundane can be identified in their works, but it becomes apparent that, for the most part, it does not meet the requirements of a conceptual photography that is 'everyday' in all regards. The main reason for this are the highly sophisticated shooting or printing techniques that are characteristic for a large part of their oeuvres.