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 artifacts, some from the process and some introduced by Mann.