Sherry's work consists primarily of large format film photography, focusing on landscape and portraiture, as well as photograms and painting, and has been exhibited in New York, Los Angeles, London, Berlin, Aspen and Moscow.
Working with analogue film and printing techniques "the use of anachronistic, primitive methods reflects a concern with craft, introducing the hand of the artist into a medium most commonly associated with mechanical reproduction.
Working closely with master printer and photographer Richard Benson, Sherry discovered that through analog printing techniques, he could manipulate color film to chromatic extremes.
In the series Paradise Fire, Sherry presented works without the signature overlaid color of his previous landscapes, opting for the natural appearance of the scene, and often depicting the interaction of humans and the environment.
Adams avoided photographing people on the trails next to him and thus maintained a fantasy of natural preserve that he spent his later years defending as a form of social service.
Somewhat more elegantly, in what might also be his most potent rejoinder to Adams and the tradition he represents, Sherry shows Yosemite’s El Capitán dotted with climbers— specks on the enormous rock.