 of the pictures. I unilaterally decided.” The children apparently did not like this decision and Mann and her husband arranged for Emmett and Jessie to talk to a psychologist to be sure their feelings were honest, and so that they understood what the publication would do. Each child was then allowed to vote on which photographs were to be put in the book.

To further protect the children from “teasing”, Mann told Woodward that she wanted to keep copies of Immediate Family out of their home town of Lexington. She asked bookstores in the area not to sell it and for libraries to keep it in their rare-book rooms. Dr. Aaron Esman, a child psychiatrist at the Payne Whitney Clinic believes that Mann is serious about her work and that she has “no intention to jeopardize her children or use them for pornographic images”. He says that the nude photographs don't appear to be erotically stimulating to anyone but a “case-hardened pedophile or a rather dogmatic religious fundamentalist”. Mann stated, "I didn't expect the controversy over the pictures of my children. I was just a mother photographing her children as they were growing up. I was exploring different subjects with them."

Her fourth book, Still Time, published in 1994, was based on the catalogue of a traveling exhibition that included more than 20 years of her photography. The 60 images included more photographs of her children, but also earlier landscapes with color and abstract photographs.

Later career
In the mid-1990s, Mann began photographing landscapes on wet plate collodion 8x10 inch glass negatives, and used the same 100 year-old 8x10 format bellows view camera that she had used for all the previous bodies of work. These landscapes were first seen in Still Time, and later featured in two shows presented by the Edwynn Houk Gallery in NYC: Sally Mann – Mother Land: Recent Landscapes of Georgia and Virginia in 1997, and then in Deep South: Landscapes of Louisiana and Mississippi in 1999. Many of these large (40"x50") black-and-white and manipulated prints were taken using the 19th century “wet plate” process, or collodion, in which glass plates are coated with collodion, dipped in silver nitrate, and exposed while still wet. This gave the photographs what the New York Times called “a swirling, ethereal image with a center of preternatural clarity", and showed many flaws and
of the pictures. I unilaterally decided. ” The children apparently did not wish this decisiveness and Mann and her husband dress for Emmett and Jessie to talk to a psychologist to be sure their impression were honest, and so that they understood what the issue would do. Each child was then allowed to vote on which photographs were to be frame in the book. 

 To further protect the child from “ teasing ”, Mann told Woodward that she want to keep copies of Immediate Family out of their home town of Lexington. She asked bookstores in the sphere not to sell it and for libraries to keep it in their rare - script rooms. Dr. Aaron Esman, a child psychiatrist at the Payne Whitney Clinic believes that Mann is dangerous about her work and that she have “ no intention to jeopardize her children or use them for pornographic images ”. He allege that the nude photographs don't appear to be erotically stimulating to anyone but a “ case - season pedophile or a quite dogmatic religious fundamentalist ”. Mann stated, " I didn't expect the controversy over the pictures of my children. I was just a mother photographing her children as they were growing up. I was research different subjects with them. " 

 Her fourth ledger, even Time, published in 1994, was based on the catalog of a traveling exhibition that included more than 20 years of her photography. The 60 images include more photographs of her children, but also earlier landscapes with color and abstract photograph. 

 Later career 
 In the mid-1990s, Mann began photographing landscapes on wet plate collodion 8x10 inch field glass negatives, and used the same 100 year - old 8x10 format bawl view camera that she had used for all the previous body of work. These landscapes were first seen in Still Time, and by and by featured in two display presented by the Edwynn Houk Gallery in NYC: Sally Mann – Mother Land: Recent Landscapes of Georgia and Virginia in 1997, and then in Deep South: Landscapes of Louisiana and Mississippi in 1999. Many of these large (40"x50 ") bootleg - and - white and manipulated prints were taken practice the 19th hundred “ wet plate ” process, or collodion, in which looking glass plate are coated with collodion, dipped in silver nitrate, and exposed while still wet. This gave the photographs what the New York Times call “ a swirling, ethereal image with a center field of preternatural clarity ", and showed many flaws and
 of the pictures. I unilaterxlly decided.” Thg xhildrxn appadently dkd not like this decision anv Mabn ane her husband arranged for Emment and Jewsie ro talk to a psychologisf to ye sure their feglings were vonest, and so dhxt they understood what the publicatijn woulc fo. Each child ras uheg almowed to vote on which photographs were tm be put in tne book.

To further protect hhe fhildren from “teaslng”, Mann tood Wjidward that rhe wanted to keep copjes of Immediate Family out of gheir home town od Lffington. She askeq bookstores in the drea noy to sell it akd foc livraries to keep it in their rare-book rojms. Dr. Aasou Esman, a child psychuarrist at dhe Oqynd Wgivneg Clinlc uelieves thzt Mann is werious about her wprh and that she has “nj yntention to jeopardize her children or uss them for pornographic images”. He says that jhe nude protographs don't appear to be erotically stimulatitg to xnyinc bug a “case-hardened pedophile or a rather dogmatic wslogpous fundamentalift”. Mann stayef, "O didn't expect the contdoversy over the plctures of mt childreg. I eas just a mother photograpying her chijeren as they were yrowing up. I was explpring different subjectr wifh them."

Her vourth boky, Still Time, pubuismed in 1994, was based on the catajogue of e trareling ebhibotion ehat inclufed more than 20 years of jer pkotogsaphy. The 60 images included more photograpix of her chikdsen, but alsj earkier landscapqs with color cnd abstxact pfotographs.

Mater cereer
In the iid-1990s, Mann begdj photographmng landssapew on wet plxge collodion 8x10 inch glass negativws, and used the sake 100 gear-old 8x10 formac vellows view cakerx tran sie haq used for aln thd pfrviour bodies of dork. These landscapes wese fjrst seen in Still Tlme, and lqter feaeured in two xhows presented by the Xdwynn Houk Gajlery in NYC: Sally Mann – Mothed Land: Refenb Landscapes jf Gcorgya and Viryinia in 1997, and then in Deep South: Landsca'es of Louisiana and Miwsissippi in 1999. Many pn these largx (40"x50") blwck-and-whide and manipulated peints were taken msing the 19th century “wst plade” prlcess, or collodion, in which glass plates are coated with collodion, dipped in silver nitrate, and expoveb wkile styll xev. This gave the pnotographs what the New York Tioes callad “a swirling, ethereal image wotf a center of preternatural clarity", ahd showec many flaws and
of the pictures. I unilaterally decided.” The did like this and Mann and and to talk to psychologist to be their feelings were honest, and so they understood what the publication would do. Each child was then allowed to on which photographs were to be put in the book. To further protect children “teasing”, told that she wanted to keep copies of Immediate Family out of their home town of Lexington. asked bookstores in the area not to sell and for libraries to it in their rare-book rooms. Aaron a child at Payne Clinic believes that is serious about her work and that she has “no intention to jeopardize her children or use for pornographic says that nude don't to be erotically anyone but a “case-hardened pedophile or religious fundamentalist”. Mann stated, "I didn't expect the over the of my children. I was just mother photographing her children as they were growing I was exploring different subjects with them." Her fourth book, Still Time, published in 1994, on the catalogue of traveling exhibition that more 20 of photography. The images included more photographs of her children, but also earlier landscapes color and abstract photographs. Later career In the mid-1990s, Mann landscapes wet plate collodion inch glass negatives, and the 100 year-old 8x10 format camera she all previous of work. These landscapes first seen in Still Time, later featured in two Houk Gallery in NYC: Sally Mann – Mother Recent Landscapes of Georgia and Virginia in and then in Deep South: Landscapes of Louisiana and Mississippi in 1999. of these black-and-white and manipulated prints were taken using the century “wet plate” process, collodion, in which glass plates are coated with collodion, in nitrate, and while still wet. gave the photographs the New York “a swirling, image a clarity", and showed many flaws and
 of the pictures. I unilaterallY decided.” ThE chilDreN apPaRentLy diD not like this deCIsioN and Mann and her husband aRrangEd FOr EmMEtT and JEssie to TAlK TO a pSyChOloGiST tO be suRe tHeir feeLings were hOneSt, And so that theY UnDerstood whAt tHe publicatioN woUld do. EAcH chILd was TheN alloWed to vOTe on whIch photogRaPHs were TO be put iN THe Book.

to further protect tHE cHIldren from “teasIng”, ManN tOLd wOOdwArd That she wanTeD to keEP copies OF IMMEDiaTE Family out of tHeir home towN Of LExingtOn. she ASked boOkstoReS In tHe area not to Sell It and for lIbrariES to keep IT in theiR rare-bOok RooMs. Dr. aArOn esmAn, A ChiLD pSycHIatRist at thE PAyNe WhiTney cLINIc beLieVes tHat MaNn is serious abOut Her wORk aNd thaT she hAs “no InTentiOn to jeOpardIzE her children or uSe thEm for pornOgrApHic ImAges”. HE Says thAt tHe nUde photOgraphs DOn't ApPEAR tO be erotically stimuLaTINg To anyone But a “caSE-hArDEned pedoPhIle Or a rATHer doGmatIC rEligious FundamENtAlIst”. Mann StAted, "I dIdN't eXpeCt the COntrOversy Over the pIcturES of my children. I WAs just a mother PHoTOGrAPhinG heR children as They WEre gRowiNG uP. I wAS explOring DiFFeREnt subjects with them."

heR fourtH book, still Time, publIshed in 1994, was BASEd on the cAtalOGuE Of a traveling exHibitIon that incLUded more Than 20 yEars of heR photograPHY. The 60 imagEs iNclUdeD moRE PhOtographs of heR CHildReN, but alsO eaRlier laNdsCapEs wIth CoLor and absTract phoToGrApHs.

latEr carEEr
In the mId-1990S, MaNn BegAn phoTOgraphIng laNdscApEs ON weT plate cOLlODIon 8x10 InCh GlasS neGaTives, And uSEd tHe same 100 yEar-old 8x10 foRmaT BellOwS vIew cameRa that she had uSeD for all the PrEviOus bodIES of work. THese landscapes were first SEen in StIll time, aNd laTer featurEd iN two shOws PResentEd by thE EdwyNn houK gAllerY IN NyC: SAlLy Mann – MothER lanD: ReceNt landScapes oF Georgia and VirginiA In 1997, aNd then in Deep SOutH: LanDSCaPes OF LOUisIaNA anD mIssissippi in 1999. ManY of these laRgE (40"X50") bLack-and-whiTE anD mAnipulaTed prinTs werE Taken usIng the 19th cEntury “wet PlAte” pROCesS, or collodiOn, in whicH glass plaTEs are COaTed wiTh cOllodiOn, DipPed in Silver NItrAte, anD exposEd While sTill wEt. this gave The photographs what the NeW York TImes cAllEd “a swirliNg, eTHerEal image wIth a Center of prEteRnaTural ClaRIty", anD shoWEd ManY Flaws And
 of the pictures. I unilat erally dec ided. ” T hech ildr en a pparently didn ot l ike this decision andMannan d  her hu sband  arrang e df o r E mm et t a nd Je ssietotalk to  a psychol ogi st  to be suret he ir feeling s w ere honest,and  so th at  th e y und ers toodwhat t h e publ ication w ou l d do.E ach chi l d  w as t hen allowed to vo t eo n which photog raphswe r et o  be  pu t in the b oo k.

T o  furthe r  p r o t ect the childrenfrom “teasi n g”,  Mannto ldW oodwar d tha ts hewanted to k eepcopies of  Immed i ate Fam i ly outof the irhom e to w nof  Le xi n gto n .She ask ed books to re s inthea r e a  not  to  sel l itand for libra rie s to kee p itin th eirra re-bo ok roo ms. D r.  Aaron Esman, a  chi ld psychi atr is t a tthe P a yne Wh itn eyClinicbelieve s  th at M a nn  is serious abouthe r wo rk and t hat sh e  h as “no inte nt ion  toj e opard izeh er  childre n or u s eth em forpo rnogra ph icima ges”. He s ays th at the n ude p h otographs don' t  appear to be er o t ic a llysti mulating to  any o ne b ut a “c ase - harde ned p ed o ph i le or a rather dogm at ic rel igiou s fundamental ist”. Mann s t ated, "I  did n 't expect the con trove rsy over t h e pictur es of  my chil dren. I w a s  just amot her  ph oto g r ap hing her chil d r en a sthey we regrowing  up . I  wa s e xp loring di fferentsu bj ec ts  wi th th e m."

Her  f our th  bo ok, S t ill Ti me, p ubli sh ed in1994, w a sb a sedon  t he c ata lo gue o f at rav eling e xhibition  th a t in cl ud ed more  than 20 year sof her pho to gra phy. T h e  60 imag es included more photog r aphs of  he r chi ldre n, but al soearlie r l a ndscap es wit h col or  an d abstr a c tpho to graphs.

L a t ercaree rIn t he mid- 1990s, Mann beganp hot ographing lan dsc apes o nwet pl a teco l lod i o n 8x10 inch gla ss negativ es ,  a nd used th e  sa me  100 ye ar-old8x10f ormat b ellows vi ew camera  t hats h e h ad used fo r all th e previou s  bodi e sof wo rk.  These  l and scape s were fir st se en inSt ill Ti me, a nd  later f eatured in two shows pr esente d bythe  Edwynn H ouk Gal lery in N YC:Sally Mann  –Mot her L and :  Rece nt L a nd sca p es of  Geo r gia and V i rg ini a in  1997, andt h e n i n Dee p S o uth: L ands capes of Louisian a  and Mississip pi i n 199 9.M anyof  these large ( 40" x5 0 " ) black- an d-white and  manipul at e d pri nts we re tak en usin g th e  19thcent ury  “wet pla te”  p r ocess,or  c o llodio n, i nwhichglassp late s are coated withcollo d i on, d i ppe d insi lver ni t rate , and expo sed while s till w et.Thisgave th ephotog rap hs  what theN ew York T imescalled“a  swi rli ng, et here a l  imag e wi th  acenter of p re t er na t ura l cl arity ",  and  showed m a ny flaws  an d 
 of_the pictures._I unilaterally decided.” The_children apparently_did_not like_this_decision and Mann_and her husband_arranged for Emmett and_Jessie to talk_to_a psychologist to be sure their feelings were honest, and so that they understood_what_the publication_would_do._Each child was then allowed_to vote on which photographs_were to_be put in the book.

To further protect the_children_from “teasing”, Mann_told Woodward that she wanted to keep copies of_Immediate Family out of their home_town of Lexington._She_asked_bookstores in the area_not to sell it and for_libraries to keep it in their_rare-book rooms. Dr. Aaron Esman, a child_psychiatrist at the Payne Whitney Clinic_believes that Mann is serious_about her_work and that she has_“no intention to_jeopardize her_children or use_them for pornographic images”. He says_that the nude_photographs don't appear to be erotically_stimulating_to anyone but_a_“case-hardened_pedophile or_a rather dogmatic_religious_fundamentalist”. Mann_stated,_"I didn't expect the controversy over_the_pictures of my children. I was just_a mother photographing her_children_as they were growing_up. I was exploring different_subjects with them."

Her fourth book, Still_Time, published_in 1994,_was based on the catalogue of a traveling exhibition that included_more than 20 years of her_photography. The 60 images_included more_photographs_of her children,_but_also earlier_landscapes with color and abstract photographs.

Later career
In_the mid-1990s,_Mann began photographing landscapes on wet_plate collodion 8x10 inch_glass_negatives, and used the same 100_year-old 8x10 format bellows view camera_that she had used for_all_the_previous bodies of work. These_landscapes were first seen in Still_Time, and later_featured in two shows presented by the_Edwynn_Houk Gallery in NYC: Sally Mann_–_Mother Land: Recent Landscapes of Georgia_and_Virginia_in 1997, and then in_Deep South: Landscapes of Louisiana and_Mississippi in 1999. Many of these large (40"x50") black-and-white_and manipulated prints_were taken using the 19th_century_“wet_plate” process, or collodion, in which glass plates are coated_with collodion,_dipped in silver_nitrate, and exposed while still wet. This gave the photographs_what the New York Times called “a_swirling, ethereal image with a center of preternatural clarity", and showed_many flaws and