If, as Ansel Adams once said, negatives are composer’s scores and the prints are aperformance, then Ruhter’s modern tintypes — the images suspended in silver — are more akin to listening, with limited intervention between exposure and impression. “You learn to let go, and you get these mistakes that are so beautiful that you wouldn’t change them if you could,” Ruhter says. In their imperfections, and in their relatively high failure rate, the one-of-a-kind plates also reveal something of the unpredictable environment that is rarely captured in photographs: the moisture in the ambient air, whether the day was cold or hot and the gusts of wind that came through before, scattering dust. Ruhter, who is based in Lake Tahoe, has driven his camera across “one of the most fascinating places ever,” the United States, taking portraits and wide views of the sorts of places — Half Dome in Yosemite, the buttes of Monument Valley — that have long beguiled photographers of the American West.