A compendium of never-before-published contact sheets from the iconic documentarian of the American West, spanning decades and formats, replete with his red-marker frame selections and handwritten notes Robert Adams’ photographs of the Western landscape are iconic reminders of nature’s resilience in the face of human development. But as this collection of never-before-published contact sheets shows, his precise arrangements of clouds, trees and roads under clear Colorado light were not inevitable. Instead, they are the result of Adams’ relentless searching for form and his inimitable, exacting photographic technique, as evidenced by prints marked with cropping lines, exposure times and other notes. The book pairs around 50 photographs with their original contact sheets, each showing the exposures from a single roll of medium format film, or with contact-printed 4x5 negatives and pencil-drawn printing guides. The photographs span 20 years, from the 1960s to the mid-1980s, just before Adams traded these larger negatives for a nimbler 35mm camera. Artifacts from an age when every serious photograph was a handmade object, the contact sheets offer a graphic record of what Adams was seeking, and what he set aside. As Jeffrey Fraenkel writes in his introduction, Adams’ contact sheets “remind us [Adams] was never looking for the perfect picture. He looked until the picture became one.”Robert Adams was born in 1937 in Orange, New Jersey. He became a photographer in the mid-1960s and has published more than 40 books of photographs, with the changing landscape of the American West as his primary subject. His books include The New West (1974), Los Angeles Spring (1986), Listening to the River (1994), Turning Back (2005), Tenancy (2017) and Thalia (2024). Adams lives and works in the Pacific Northwest.

A compendium of never-before-published contact sheets from the iconic documentarian of the American West, spanning decades and formats, replete with his red-marker frame selections and handwritten notes Robert Adams’ photographs of the Western landscape are iconic reminders of nature’s resilience in the face of human development. But as this collection of never-before-published contact sheets shows, his precise arrangements of clouds, trees and roads under clear Colorado light were not inevitable. Instead, they are the result of Adams’ relentless searching for form and his inimitable, exacting photographic technique, as evidenced by prints marked with cropping lines, exposure times and other notes. The book pairs around 50 photographs with their original contact sheets, each showing the exposures from a single roll of medium format film, or with contact-printed 4x5 negatives and pencil-drawn printing guides. The photographs span 20 years, from the 1960s to the mid-1980s, just before Adams traded these larger negatives for a nimbler 35mm camera. Artifacts from an age when every serious photograph was a handmade object, the contact sheets offer a graphic record of what Adams was seeking, and what he set aside. As Jeffrey Fraenkel writes in his introduction, Adams’ contact sheets “remind us [Adams] was never looking for the perfect picture. He looked until the picture became one.”Robert Adams was born in 1937 in Orange, New Jersey. He became a photographer in the mid-1960s and has published more than 40 books of photographs, with the changing landscape of the American West as his primary subject. His books include The New West (1974), Los Angeles Spring (1986), Listening to the River (1994), Turning Back (2005), Tenancy (2017) and Thalia (2024). Adams lives and works in the Pacific Northwest.

A compendium of never-before-published contact sheets from the iconic documentarian of the American West, spanning decades and formats, replete with his red-marker frame selections and handwritten notes Robert Adams’ photographs of the Western landscape are iconic reminders of nature’s resilience in the face of human development. But as this collection of never-before-published contact sheets shows, his precise arrangements of clouds, trees and roads under clear Colorado light were not inevitable. Instead, they are the result of Adams’ relentless searching for form and his inimitable, exacting photographic technique, as evidenced by prints marked with cropping lines, exposure times and other notes. The book pairs around 50 photographs with their original contact sheets, each showing the exposures from a single roll of medium format film, or with contact-printed 4x5 negatives and pencil-drawn printing guides. The photographs span 20 years, from the 1960s to the mid-1980s, just before Adams traded these larger negatives for a nimbler 35mm camera. Artifacts from an age when every serious photograph was a handmade object, the contact sheets offer a graphic record of what Adams was seeking, and what he set aside. As Jeffrey Fraenkel writes in his introduction, Adams’ contact sheets “remind us [Adams] was never looking for the perfect picture. He looked until the picture became one.”Robert Adams was born in 1937 in Orange, New Jersey. He became a photographer in the mid-1960s and has published more than 40 books of photographs, with the changing landscape of the American West as his primary subject. His books include The New West (1974), Los Angeles Spring (1986), Listening to the River (1994), Turning Back (2005), Tenancy (2017) and Thalia (2024). Adams lives and works in the Pacific Northwest.