The volume shows the remarkable collection of prints built by Frazier King, brought to public view by Wendy Watriss, one of the founders of FotoFest. The narrative explores how King's own work with the constructed image resulted in a collection of that kind, and explains its varied nature; the reader also gets a personal, inside glimpse of the dynamics of portfolio reviews, and of how artists, collectors and curators interact and form relationships there.

Besides King's own essay it includes one by Watriss on the significance of collecting and the role of the collector, and a third by the curator Madeline Yale Preston on the collector as curator and on the historical evolution of the constructed image, a term that entered discourse after A. D. Coleman's 1976 text The Directorial Mode.

“To collect photographs is to collect the world.” — Susan Sontag