Aaron Rothman’s *The Sierra* takes the Sierra Nevada—a range that has shaped American ideas of wilderness for more than a century—and looks at it through the lens of the climate crisis. Over six years, Rothman produced roughly fifty colour images, working with large-format film in the field and then, in the studio, deciding what each picture would finally become. That two-part process is central to the book. Some photographs stay close to what he encountered; others are inverted, layered from multiple views of one place, or washed out almost to the point of disappearance. The result is a landscape that feels at once familiar and estranged, asking the viewer to hold both responses at the same time.

Rothman’s attachment to these mountains is longstanding and personal, and the recent visits recorded here carry a growing sense of dread and loss as fires and haze make environmental change visible. The book sets that experience against the European landscape tradition—Jacob van Ruisdael, Théodore Rousseau, Albert Bierstadt—to consider how inherited ways of picturing wilderness have shaped what we expect nature to look like, and how idealising it as pristine may have left it more vulnerable. Art critic and writer Leah Ollman contributes an accompanying text; Rob van Hoesel designed the volume, which Eriskay Connection issues in hardcover at 240 × 292 mm, 112 pages, with lithography by Sebastiaan Hanekroot and printing by Wilco Art Books.

For collectors, the interest lies in how deliberately this book argues with its own subject. It declines the picturesque view even as it acknowledges the beauty of the terrain, and its interventions—reversal, layering, erasure—are not effects for their own sake but a way of registering uncertainty. Anyone drawn to contemporary landscape photography that thinks historically while facing present conditions will find a considered, unsettling book here.