This is to say that the strictly documentary character of Adams’s work, which by and large claimed viewers’ attention at the time of New Topographics, has somewhat receded in importance. And it is also to suggest that the theoretical issue of the non-representational nature of the photograph as well as of the problematic status of the photographer’s intentions owing to the photograph’s indexicality…turns out to be not quite relevant to the present case. Or rather, more precisely, it is as if the “weak intentionality” of the photograph…turns out to throw into relief the extraordinary strength and efficacy of Adams’s esthetic perfectionism…with respect to the appearance of the final print, the esthetic artifact as such.