Using an 1898 Agfa field camera and specially made photographic plates, Thomas Joshua Cooper creates extraordinary, meditative landscape photographs printed with selenium-toned silver gelatin. Each work begins as a location found on a map, which Cooper then exhaustively researches and tracks down. Composing only outdoors, he captures each site in a single exposure, stressing the “made” and “built” quality of each print over its documentary or snapshot elements. In his ongoing “Atlas Project” (1989-), Cooper charts the extremities of land in the Atlantic Basin, from South Africa and Scandinavia to the Arctic, Antarctica, and South America. “These accumulative picture-spaces could be anywhere or everywhere,” he says. “Yet the collective results that continue to drive, inform, and complete the Atlas may well tell us something about a more difficult and allusive territory of human concern.” Cooper cites among his influences Edward Weston, Alfred Stieglitz, Paul Strand, and Robert Frank.