David Benjamin Sherry's large, spiral-bound book Earth Changes shows monochromatic photographs of natural sites throughout the West, from Zion Canyon to Death Valley. He achieves these monochrome images in the darkroom by pushing the cyan, magenta and yellow filters in specific combinations. Sherry slightly overexposes the negatives to retain the rich detail in the shadows of these landscapes.

Landscape photographs of the West cannot help but evoke the historical work of photographers like Ansel Adams, who depicted nature as a spiritual place. Many of these early photographs carried out the goals of Manifest Destiny, showing land in the West as ideal for the taking. Sherry's work subverts this tradition by taking a new look at these sites, revealing the subjective nature of visual representation.

Sherry's approach to the medium challenges categorical ideologies and the question of photographic truth. It could be argued that no photograph can be completely detached or objective, but the distinction concerning a photographer's intent seems to divide directives: aesthetic or objective. With this collection of "truthful" images, presented in exaggerated colors, the artist marries opposing categorizations, or the division implied therein.