Ansel Adams

Ansel Easton Adams (February 20, 1902 – April 22,

Ansel Adams
1984) was an American landscape photographer and
environmentalist known for his black-and-white images of
the American West. He helped found Group f/64, an
association of photographers advocating "pure"
photography which favored sharp focus and the use of the
full tonal range of a photograph. He and Fred Archer
developed an exacting system of image-making called the
Zone System, a method of achieving a desired final print
through a deeply technical understanding of how tonal
range is recorded and developed during exposure, negative
development, and printing. The resulting clarity and depth
of such images characterized his photography.

Adams was a life-long advocate for environmental

conservation, and his photographic practice was deeply
entwined with this advocacy. At age 12, he was given his
Adams c. 1950
first camera during his first visit to Yosemite National Park.
He developed his early photographic work as a member of Born Ansel Easton Adams
the Sierra Club. He was later contracted with the United February 20, 1902
States Department of the Interior to make photographs of San Francisco, California,
national parks. For his work and his persistent advocacy, U.S.
which helped expand the National Park system, he was
Died April 22, 1984 (aged 82)
awarded the Presidential Medal of Freedom in 1980.
Monterey, California, U.S.
Adams was a key advisor in establishing the photography Resting Adams's ashes were placed
department at the Museum of Modern Art in New York, an place on the summit of Mount
important landmark in securing photography's institutional Ansel Adams in California's
legitimacy. He helped to stage that department's first
Ansel Adams Wilderness
photography exhibition, helped found the photography
area.
magazine Aperture, and co-founded the Center for Creative
Photography at the University of Arizona. Known for Photography and
conservationism
Movement Group f/64
Contents Spouse Virginia Rose Best (m. 1928)

Early life Awards Presidential Medal of

Birth Freedom
Early childhood 1980
Early education Elected Board of Directors, Sierra
Youth Club
Sierra Club and piano work Patron(s) Albert M. Bender
Photographic career Memorial(s) Ansel Adams Wilderness,
1920s Mount Ansel Adams
 1930s Website anseladams.org (http://ansel
1940s adams.org)
1950s anseladams.com (http://ans
Later career eladams.com)
Death and legacy
Contributions and influence
Landscapes of the American West
Group f/64
The Zone System
Photography department at MoMA
Environmental protection
Awards and honors
Photographs
Color images
Notable photographs
Published works
Camera equipment
See also
Explanatory notes
Citations
General and cited references
Further reading
Biographies
Photographic books
Young adult and children's books
Documentaries
External links

Early life

Birth

Adams was born in the Fillmore District of San Francisco, the only child of Charles Hitchcock Adams and
Olive Bray. He was named after his uncle, Ansel Easton. His mother's family came from Baltimore, where
his maternal grandfather had a successful freight-hauling business but lost his wealth investing in failed
mining and real estate ventures in Nevada.[1] The Adams family came from New England, having migrated
from the north of Ireland during the early 18th century. His paternal grandfather founded a prosperous
lumber business which his father later managed. Later in life, Adams condemned the industry his
grandfather worked in for cutting down many of the great redwood forests.[2]

Early childhood
One of Adams's earliest memories was watching the smoke from the fires caused by the 1906 San
Francisco earthquake. Then four years old, Adams was uninjured in the initial shaking but was tossed face-
first into a garden wall during an aftershock three hours later, breaking and scarring his nose. A doctor
recommended that his nose be reset once he reached maturity, but it remained crooked and necessitated
mouth breathing for the rest of his life.[3][4]

In 1907, his family moved 2 miles (3  km) west to a new home near the Seacliff neighborhood of San
Francisco, just south of the Presidio Army Base.[5] The home had a "splendid view" of the Golden Gate
and the Marin Headlands.[6]

Adams was a hyperactive child and prone to frequent sickness and hypochondria. He had few friends, but
his family home and surroundings on the heights facing the Golden Gate provided ample childhood
activities. He had little patience for games or sports; but he enjoyed the beauty of nature from an early age,
collecting bugs and exploring Lobos Creek all the way to Baker Beach and the sea cliffs leading to Lands
End,[6][7] "San Francisco's wildest and rockiest coast, a place strewn with shipwrecks and rife with
landslides."[8]

Early education

Adams's father had a three-inch telescope; and they enthusiastically shared the hobby of astronomy, visiting
the Lick Observatory on Mount Hamilton together. His father later served as the paid secretary-treasurer of
the Astronomical Society of the Pacific, from 1925 to 1950.[9]

Charles Adams's business suffered large financial losses after the death of his father in the aftermath of the
Panic of 1907. Some of the loss was due to his uncle Ansel Easton and Cedric Wright's father George
secretly having sold their shares of the company, "knowingly providing the controlling interest", to the
Hawaiian Sugar Trust for a large amount of money.[10] By 1912, the family's standard of living had
dropped sharply.[11]

Adams was dismissed from several private schools for being restless and inattentive, so when he was 12,
his father decided to remove him from school. For the next two years he was educated by private tutors, his
aunt Mary, and his father. Mary was a devotee of Robert G. Ingersoll, a 19th-century agnostic and women's
suffrage advocate, so Ingersoll's teachings were important to his upbringing.[12] During the Panama–Pacific
International Exposition in 1915, his father insisted that he spend part of each day studying the exhibits as
part of his education.[13] He eventually resumed, and completed, his formal education by attending the Mrs.
Kate M. Wilkins Private School, graduating from the eighth grade on June 8, 1917. During his later years,
he displayed his diploma in the guest bathroom of his home.[14]

His father raised him to follow the ideas of Ralph Waldo Emerson: to live a modest, moral life guided by a
social responsibility to man and nature.[12] Adams had a loving relationship with his father, but he had a
distant relationship with his mother, who did not approve of his interest in photography.[15] The day after
her death in 1950, Ansel had a dispute with the undertaker when choosing the casket in which to bury her.
He chose the cheapest in the room, a $260 coffin that seemed the least he could purchase without doing the
job himself. The undertaker remarked, "Have you no respect for the dead?" Adams replied, "One more
crack like that and I will take Mama elsewhere."[16]

Youth
Adams became interested in playing the piano at age 12 after hearing his
16-year-old neighbor Henry Cowell play on the Adamses' piano, and he
taught himself to play and read music.[19] Cowell, who later became a
well-known avant-garde composer, gave Adams some lessons.[20] Over the
next decade,[21] three music teachers pushed him to develop technique and
discipline, and he became determined to pursue a career as a classical
pianist.[12]

Adams first visited Yosemite National Park in 1916 with his family.[22] He Kodak No 1 Brownie Model
wrote of his first view of the valley: "the splendor of Yosemite burst upon B box camera, the first
us and it was glorious…. One wonder after another descended upon us…. model Adams owned[17]
There was light everywhere…. A new era began for me." His father gave
him his first camera during that stay, an Eastman Kodak Brownie
box camera, and he took his first photographs with his "usual
hyperactive enthusiasm".[17] He returned to Yosemite on his own
the next year with better cameras and a tripod. During the winters
of 1917 and 1918, he learned basic darkroom technique while
working part-time for a San Francisco photograph finisher.[23]

Adams contracted the Spanish flu during the 1918 flu pandemic,
from which he needed several weeks to recuperate. He read a book Harry Best standing in front of his
about lepers and became obsessed with cleanliness; he was afraid studio, c. 1922–1925[18]
to touch anything without immediately washing his hands
afterwards. Over the objections of his doctor, he prevailed on his
parents to take him back to Yosemite, and the visit cured him of his disease and compulsions.[24]

Adams avidly read photography magazines, attended camera club meetings, and went to photography and
art exhibits. He explored the High Sierra during summer and winter with retired geologist and amateur
ornithologist Francis Holman, whom he called "Uncle Frank". Holman taught him camping and climbing;
however, their shared ignorance of safe climbing techniques such as belaying almost led to disaster on more
than one occasion.[25]

While in Yosemite, Adams had need of a piano to practice on. A ranger introduced him to landscape
painter Harry Best, who kept a studio home in Yosemite and lived there during the summers. Best allowed
Adams to practice on his old square piano. Adams grew interested in Best's daughter Virginia and later
married her.[26] On her father's death in 1936, Virginia inherited the studio and continued to operate it until
1971. The studio is now known as the Ansel Adams Gallery and remains owned by the Adams family.[27]

Sierra Club and piano work

At age 17, Adams joined the Sierra Club,[28] a group dedicated to protecting the wild places of the earth,
and he was hired as the summer caretaker of the Sierra Club visitor facility in Yosemite Valley, the LeConte
Memorial Lodge, from 1920 to 1923.[28] He remained a member throughout his lifetime and served as a
director, as did his wife. He was first elected to the Sierra Club's board of directors in 1934 and served on
the board for 37 years.[4] Adams participated in the club's annual High Trips, later becoming assistant
manager and official photographer for the trips.[4] He is credited with several first ascents in the Sierra
Nevada.[29]

During his twenties, most of his friends had musical associations, particularly violinist and amateur
photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor.
Their shared philosophy was from Edward Carpenter's Towards Democracy, a literary work which
endorsed the pursuit of beauty in life and art. For several years, Adams carried a pocket edition with him
while at Yosemite;[30] and it became his personal philosophy as well. He later stated, "I believe in beauty. I
believe in stones and water, air and soil, people and their future and their fate."[31]

During summer, Adams would enjoy a life of hiking, camping, and photographing; and the rest of the year
he worked to improve his piano playing, perfecting his piano technique and musical expression. He also
gave piano lessons for extra income that allowed him to purchase a grand piano suitable to his musical
ambitions.[32] Adams was still planning a career in music. He felt that his small hands limited his
repertoire,[33] but qualified judges considered him a gifted pianist.[34] However, when he formed the
Milanvi Trio with a violinist and a dancer, he proved a poor accompanist.[35] It took seven more years for
him to conclude that, at best, he might become only a concert pianist of limited range, an accompanist, or a
piano teacher.[32]

Photographic career

1920s

Pictorialism

Adams's first photographs were published in 1921, and Best's

Studio began selling his Yosemite prints the next year. His early
photos already showed careful composition and sensitivity to tonal
balance. In letters and cards to family, he wrote of having dared to
climb to the best viewpoints and to brave the worst elements.[37]

During the mid-1920s, the fashion in photography was pictorialism,

which strove to imitate paintings with soft focus, diffused light, and
other techniques.[38] Adams experimented with such techniques, as
well as the bromoil process, which involved brushing an oily ink Lodgepole Pines, Lyell Fork of the
Merced River, Yosemite National
onto the paper.[39] An example is Lodgepole Pines, Lyell Fork of
Park (1921)[36]
the Merced River, Yosemite National Park (originally named
Tamarack Pine), taken in 1921. Adams used a soft-focus lens,
"capturing a glowing luminosity that captured the mood of a
magical summer afternoon".[40]

For a short time Adams used hand-coloring, but declared in 1923 that he would do this no longer.[41] By
1925 he had rejected pictorialism altogether for a more realistic approach that relied on sharp focus,
heightened contrast, precise exposure, and darkroom craftsmanship.[42]

Monolith

In 1927, Adams began working with Albert M. Bender, a San Francisco insurance magnate and arts
patron. Bender helped Adams produce his first portfolio in his new style, Parmelian Prints of the High
Sierras, which included his famous image Monolith, the Face of Half Dome, which was taken with his
Korona view camera, using glass plates and a dark red filter (to heighten the tonal contrasts). On that
excursion, he had only one plate left, and he "visualized" the effect of the blackened sky before risking the
last image. He later said, "I had been able to realize a desired image: not the way the subject appeared in
reality but how it felt to me and how it must appear in the finished print."[44] One biographer calls Monolith
Adams's most significant photograph because the "extreme manipulation of tonal values" was a departure
from all previous photography. Adams's concept of visualization,
which he first defined in print in 1934, became a core principle in
his photography.[45]

Adams's first portfolio was a success, earning nearly $3,900 with

the sponsorship and promotion of Bender. Soon he received
commercial assignments to photograph the wealthy patrons who
bought his portfolio.[46] He also began to understand how
important it was that his carefully crafted photos were reproduced
to best effect. At Bender's invitation, he joined the Roxburghe
Club, an association devoted to fine printing and high standards in
book arts. He learned much about printing techniques, inks, design,
and layout, which he later applied to other projects.[47]

Adams married Virginia Best in 1928, after a pause from 1925 to

1926 during which he had brief relationships with various women.
The newlyweds moved in with his parents to save expenses.[48] Monolith, the Face of Half Dome,
The following year, they had a home built next door and connected Yosemite National Park, California
it to the older house by a hallway.[49] (1927)[43]

1930s

Pure photography

Between 1929 and 1942, Adams's work matured, and he became

more established. The 1930s were a particularly experimental and
productive time for him. He expanded the technical range of his
works, emphasizing detailed close-ups as well as large forms, from
mountains to factories.[51]

Bender took Adams on visits to Taos, New Mexico, where Adams

met and made friends with the poet Robinson Jeffers, artists John
Marin and Georgia O'Keeffe, and photographer Paul Strand.[52]
His talkative, high-spirited nature combined with his excellent
piano playing made him popular among his artist friends.[53] His Close-up of leaves In Glacier
first book, Taos Pueblo, was published in 1930 with text by writer National Park (1942)[50]
Mary Hunter Austin.[52]

Strand proved especially influential. Adams was impressed by the simplicity and detail of Strand's
negatives, which showed a style that ran counter to the soft-focus, impressionistic pictorialism still popular
at the time.[54][55] Strand shared secrets of his technique with Adams and convinced him to pursue
photography fully.[56] One of Strand's suggestions that Adams adopted was to use glossy paper to intensify
tonal values.[47]

Adams put on his first solo museum exhibition, Pictorial Photographs of the Sierra Nevada Mountains by
Ansel Adams, at the Smithsonian Institution in 1931; it featured 60 prints taken in the High Sierra and the
Canadian Rockies. He received a favorable review from the Washington Post: "His photographs are like
portraits of the giant peaks, which seem to be inhabited by mythical gods."[57]
Despite his success, Adams felt that he was not yet up to the standards of Strand. He decided to broaden his
subject matter to include still life and close-up photos and to achieve higher quality by "visualizing" each
image before taking it. He emphasized the use of small apertures and long exposures in natural light, which
created sharp details with a wide range of distances in focus, as demonstrated in Rose and Driftwood
(1933), one of his finest still-life photographs.[58]

In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward
Weston, and they soon formed Group f/64 which espoused "pure or straight photography" over pictorialism
(f/64 being a very small aperture setting that gives great depth of field). The group's manifesto stated: "Pure
photography is defined as possessing no qualities of technique, composition or idea, derivative of any other
art form."[59]

Imitating the example of photographer Alfred Stieglitz, Adams opened his own art and photography gallery
in San Francisco in 1933.[60] He also began to publish essays in photography magazines and wrote his first
instructional book, Making a Photograph, in 1935.[61]

Sierra Nevada

During the summers, Adams often participated in Sierra Club High Trips outings, as a paid photographer
for the group; and the rest of the year a core group of Club members socialized regularly in San Francisco
and Berkeley. In 1933, his first child Michael was born, followed by Anne two years later.[62]

During the 1930s, Adams began to deploy his photographs in the cause of wilderness preservation. He was
inspired partly by the increasing incursion into Yosemite Valley of commercial development, including a
pool hall, bowling alley, golf course, shops, and automobile traffic. He created the limited-edition book
Sierra Nevada: The John Muir Trail in 1938, as part of the Sierra Club's efforts to secure the designation of
Kings Canyon as a national park. This book and his testimony before Congress played a vital role in the
success of that effort, and Congress designated Kings Canyon as a national park in 1940.[63][64]

In 1935, Adams created many new photographs of the Sierra

Nevada; and one of his most famous, Clearing Winter Storm,
depicted the entire Yosemite Valley, just as a winter storm abated,
leaving a fresh coat of snow. He gathered his recent work and had
a solo show at Stieglitz's "An American Place" gallery in New
York in 1936. The exhibition proved successful with both the
critics and the buying public, and earned Adams strong praise from
the revered Stieglitz.[66] The following year, the negative for
Clearing Winter Storm was almost destroyed when the darkroom in
Yosemite caught fire. With the help of Edward Weston and Charis
Georgia O'Keeffe and Orville Cox,
Wilson (Weston's future wife), Adams put out the fire, but
Canyon de Chelly National
thousands of negatives, including hundreds that had never been
Monument, Arizona, 1937[65]
printed, were lost.[67][68][note 1]

Desert Southwest

In 1937, Adams, O'Keeffe, and friends organized a month-long camping trip in Arizona, with Orville Cox,
the head wrangler at Ghost Ranch, as their guide. Both artists created new work during this trip. Adams
made a candid portrait of O'Keeffe with Cox on the rim of Canyon de Chelly. Adams once remarked,
"Some of my best photographs have been made in and on the rim of [that] canyon."[71] Their works set in
the desert Southwest are often published and exhibited together.[71]
During the rest of the 1930s, Adams took on many commercial assignments to supplement the income from
the struggling Best's Studio. He depended on such assignments financially until the 1970s. Some of his
clients included Kodak, Fortune magazine, Pacific Gas and Electric Company, AT&T, and the American
Trust Company.[72] He photographed Timothy L. Pflueger's new Patent Leather Bar for the St. Francis
Hotel in 1939.[73] The same year, he was named an editor of U.S. Camera & Travel, the most popular
photography magazine at that time.[72]

1940s

In 1940, Adams created A Pageant of Photography, the largest and

most important photography show in the West to date, attended by
millions of visitors.[75] With his wife, Adams completed a
children's book and the very successful Illustrated Guide to
Yosemite Valley during 1940 and 1941. He also taught photography
by giving workshops in Detroit. Adams also began his first serious
stint of teaching, which included the training of military
photographers, in 1941 at the Art Center School of Los Angeles,
now known as the Art Center College of Design.[76]

Mural Project

In 1941, Adams contracted with the National Park Service to make

photographs of National Parks, Indian reservations, and other
Adams c. 1941[74]
locations managed by the department, for use as mural-sized prints
to decorate the department's new building.[77] The contract was for
180 days. Adams set off on a road trip with his friend Cedric and his son Michael, intending to combine
work on the "Mural Project" with commissions for the U.S. Potash Company and Standard Oil, with some
days reserved for personal work.[78]


Moonrise

While in New Mexico for the project, Adams photographed a scene of the Moon rising above a modest
village with snow-covered mountains in the background, under a dominating black sky. The photograph is
one of his most famous and is named Moonrise, Hernandez, New Mexico. Adams's description in his later
books of how it was made probably enhanced the photograph's fame: the light on the crosses in the
foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the
luminance of the Moon and used it to calculate the proper exposure.[79][80][81] Adams's earlier account was
less dramatic,[82] stating simply that the photograph was made after sunset, with exposure determined using
his Weston Master meter.[note 2]

However the exposure was actually determined, the foreground was underexposed, the highlights in the
clouds were quite dense, and the negative proved difficult to print.[83] The initial publication of Moonrise
was in U.S. Camera 1943 annual, after being selected by the "photo judge" for U.S. Camera, Edward
Steichen.[84] This gave Moonrise an audience before its first formal exhibition at the Museum of Modern
Art in 1944.[85]

Over nearly 40 years, Adams re-interpreted the image, his most popular by far,[86] using the latest
darkroom equipment at his disposal, making over 1,369 unique prints, mostly in 16" by 20" format.[87]
Many of the prints were made during the 1970s, with their sale finally giving Adams financial
independence from commercial projects. The total value of these original prints exceeds $25,000,000;[88]
the highest price paid for a single print of Moonrise reached $609,600 at a 2006 Sotheby's auction in New
York.[89]

The Mural Project ended on June 30, 1942; and because of the World War, the murals were never created.
Adams sent a total of 225 small prints to the DOI, but held on to the 229 negatives. These include many
famous images such as The Tetons and the Snake River. Although they were legally the property of the
U.S. Government, he knew that the National Archives did not take proper care of photographic material,
and used various subterfuges to evade queries.[78]

The ownership of one image in particular has attracted interest: Moonrise. Although Adams kept
meticulous records of his travel and expenses,[90] he was less disciplined about recording the dates of his
images, and he neglected to note the date of Moonrise. But the position of the Moon allowed the image to
be eventually dated from astronomical calculations, and in 1991 Dennis di  Cicco of Sky & Telescope
determined that Moonrise was made on November 1, 1941.[note 3] Since this was a day for which he had
not billed the department, the image belonged to Adams.[93]

World War II

When Edward Steichen formed his Naval Aviation Photographic

Unit in early 1942, he wanted Adams to be a member, to build and
direct a state-of-the-art darkroom and laboratory in Washington,
D.C.[96] Around February 1942, Steichen asked Adams to join him
in the navy.[96] Adams agreed, but with two conditions: He wanted
to be commissioned as an officer, and he would not be available
until July 1.[97] Steichen, who wanted the team assembled as
quickly as possible, passed on Adams and had his other
photographers ready by early April.[97] Farm, farm workers, Mt. Williamson
in background, Manzanar Relocation
Adams was distressed by the Japanese American internment that Center, California[94]
occurred after the Pearl Harbor attack. He requested permission to
visit the Manzanar War Relocation Center in the Owens Valley, at
the base of Mount Williamson. The resulting photo-essay first
appeared in a Museum of Modern Art exhibit, and later was
published as Born Free and Equal: The Story of Loyal Japanese-
Americans. Upon its release, "[the book] was met with some
distressing resistance and was rejected by many as disloyal."[98]
This work was a significant departure, stylistically and
philosophically, from the work for which Adams is generally
known.[99] He also contributed to the war effort by doing many
photographic assignments for the military, including making prints
of secret Japanese installations in the Aleutians.[100] Baton practice at the Manzanar War
Relocation Center, 1943[95]
In 1943, Adams had a camera platform mounted on his station
wagon, to afford him a better vantage point over the immediate
foreground and a better angle for expansive backgrounds. Most of
his landscapes from that time forward were made from the roof of his car rather than from summits reached
by rugged hiking, as in his earlier days.[101]

Adams was the recipient of three Guggenheim Fellowships during his career, the first being awarded in
1946 to photograph every national park.[102] At that time, there were 28 national parks, and Adams
photographed 27 of them, missing only Everglades National Park in Florida. This series of photographs
produced memorable images of Old Faithful Geyser, Grand Teton, and Mount McKinley.

In 1945, Adams was asked to form the first fine art photography department at the California School of
Fine Arts. Adams invited Dorothea Lange, Imogen Cunningham, and Edward Weston to be guest lecturers,
and Minor White to be the principal instructor.[103][104] The photography department produced numerous
notable photographers, including Philip Hyde, Benjamen Chinn, and Bill Heick.[105]
1950s

In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal
of photography, displaying its best practitioners and newest innovations. He was also a contributor to
Arizona Highways, a photo-rich travel magazine. His article on Mission San Xavier del Bac, with text by
longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many
collaborations with her.[78]

In June 1955, Adams began his annual workshops at Yosemite. They continued to 1981, attracting
thousands of students.[106] He continued with commercial assignments for another twenty years, and
became a consultant, with a monthly retainer, for Polaroid Corporation, which was founded by good friend
Edwin Land.[107] He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise
(1968) being the one he considered most memorable. During the final twenty years of his life, the 6x6 cm
medium format Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite
photograph made with that brand of camera.[108]

Adams published his fourth portfolio, What Majestic Word, in 1963, and dedicated it to the memory of his
Sierra Club friend Russell Varian,[109] who was a co-inventor of the klystron and who had died in 1959.
The title was taken from the poem "Sand Dunes", by John Varian, Russell's father,[110] and the fifteen
photographs were accompanied by the writings of both John and Russell Varian. Russell's widow, Dorothy,
wrote the preface, and explained that the photographs were selected to serve as interpretations of the
character of Russell Varian.[109]

Later career
By the 1960s, Adams had developed gout and arthritis and hoped that moving to a new home would make
him feel better. He and his wife considered Santa Fe, but they both had commitments in California (Virginia
was managing the Yosemite studio of her father).[112] A friend offered to sell them property in Carmel
Highlands, overlooking the Big Sur coastline. With architect Eldridge Spencer, they began planning the
new home in 1961 and moved there in 1965.[113] Adams began to devote much of his time to printing the
backlog of negatives that had accumulated over forty years.[112]

In the 1960s, a few mainstream art galleries that had considered photography unworthy of exhibit alongside
fine paintings decided to show Adams's images, particularly the former Kenmore Gallery in
Philadelphia.[114] In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark
Kerr, the president of the University of California, to produce a series of photographs of the university's
campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the university's
motto, was published in 1967 and now resides in the Museum of Photography at the University of
California, Riverside.[115]

During the 1970s, Adams reprinted negatives from his vault, in part to satisfy the demand of art museums
that had recently established departments of photography.[116]

In 1972, Adams contributed images to help publicize Proposition 20,[117] which authorized the state to
regulate development along portions of the California coast.[118]

In 1974, he exhibited at the Rencontres d'Arles (formerly known as the Rencontres Internationales de la
Photographie d'Arles), an annual summer photography festival in France.[119] He also had a major
retrospective exhibition at the Metropolitan Museum of Art.[52]
In 1975, he cofounded the Center for Creative Photography at the
University of Arizona, which handles some of his estate matters.[120]

In 1979, President Jimmy Carter commissioned Adams to make the first

official photographic portrait of a U.S. president.[121][122]

Death and legacy

President Gerald Ford and First
Adams died from cardiovascular disease on April 22, 1984, in the Lady Betty Ford viewing
intensive-care unit at the Community Hospital of the Monterey photographs with Adams,
Peninsula in Monterey, California, at age 82. He was surrounded by his 1975[111]
wife, children Michael and Anne, and five grandchildren.[123] His body
was cremated and his ashes were scattered on the Half Dome at
Yosemite National Park.[124]

Publishing rights for most of Adams's photographs are handled by the

trustees of The Ansel Adams Publishing Rights Trust. An archive of
Adams's work is located at the Center for Creative Photography at the
University of Arizona in Tucson. Numerous works by the artist have
been sold at auction, including a mural-sized print of Clearing Winter
Storm, Yosemite National Park, which sold at Sotheby's New York in
June 2010 for $722,500, then the highest price ever paid for an original
Ansel Adams photograph.[125] This price was surpassed by another
mural-sized print of one of his photographs, The Tetons and the Snake Jimmy Carter's photographic
River, sold for $988,000 at Sotheby's New York, on 14 December portrait by Adams.
2020.[126]

John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p.  5), "The love that
Americans poured out for the work and person of Ansel Adams during his old age, and that they have
continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon,
perhaps even unparalleled in our country's response to a visual artist."

Contributions and influence

Landscapes of the American West

Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite
during the 19th century, followed by photographers Carleton Watkins, Eadweard Muybridge, and George
Fiske.[39] Adams's work is distinguished from theirs by his interest in the transient and ephemeral.[34] He
photographed at varying times of the day and of the year, capturing the landscape's changing light and
atmosphere.[54][127][128]

Art critic John Szarkowski wrote, "Ansel Adams attuned himself more precisely than any photographer
before him to a visual understanding of the specific quality of the light that fell on a specific place at a
specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial
image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the
motive that forced Adams to develop his legendary photographic technique."[129]
The creation of Adams's grand, highly
detailed images was driven by his
interest in the natural environment.[54]
With increasing environmental
degradation in the West during the 20th
century, his photos show a commitment
to conservation.[127] His black-and-
white photographs were not just
documentation, but reflected a sublime
experience of nature as a spiritual
place.[19]

In 1955, Edward Steichen selected

Adams's Mount Williamson for the
world-touring Museum of Modern Art
exhibition The Family of Man,[130]
which was seen by nine million visitors.
At 10 by 12 feet (3.0 by 3.7 m), his was The Tetons and the Snake River (1942)[50]
the largest print in the exhibition,
presented floor-to-ceiling in a prominent
position as the backdrop to the section "Relationships",[131] as a reminder of the essential reliance of
humanity on the soil. However, despite its striking and prominent display, Adams expressed displeasure at
the "gross" enlargement and "poor" quality of the print.[132]

Group f/64

In 1932, Adams helped form the anti‐pictorialist Group f/64, a loose and relatively short-lived association
of like-minded "straight" or "pure" photographers on the West Coast whose members included Edward
Weston and Imogen Cunningham. The modernist group favored sharp focus—f/64 being a very small
aperture setting that gives great depth of field on large-format view cameras—contact printing, precisely
exposed images of natural forms and found objects, and the use of the entire tonal range of a
photograph.[19][34][54][133][134]

Adams wrote the group's manifesto for their exhibition at the De Young Museum:

Group f/64 limits its members and invitational names to those workers who are striving to
define photography as an art-form by a simple and direct presentation through purely
photographic methods. The Group will show no work at any time that does not conform to its
standards of pure photography. Pure photography is defined as possessing no qualities of
[technique], composition or ideas, derivative of any other art-form. The production of the
"Pictorialist," on the other hand, indicates a devotion to principles of art, which are directly
related to painting and the graphic arts. The members of Group f/64 believe that Photography,
as an art-form, must develop along lines defined by the actualities and limitations of the
photographic medium, and must always remain independent of ideological conventions of art
and aesthetics that are reminiscent of a period of culture antedating the growth of the medium
itself.[135]
The f/64 school met with opposition from the pictorialists, particularly William Mortensen, who called their
work "hard and brittle".[136][137] Adams disliked the work of Mortensen and disliked him personally,
referring to him as the "Anti-Christ". The purists were friends with prominent historians, and their influence
led to the exclusion of Mortensen from histories of photography.[137][138]

Adams later developed this purist approach into the Zone System.[134]

The Zone System

While Adams and portrait photographer

Fred Archer were teaching at the Art
Center School in Los Angeles, around
1939–1940, they developed the Zone
System for managing the photographic
process,[140][141] which was based on
sensitometry, the study of the light-
sensitivity of photographic materials and
the relationship between exposure time
and the resulting density on a negative.
The Zone System provides a calibrated
scale of brightness, from Zone 0 (black)
through shades of gray to Zone X
(white). The photographer can take light
readings of key elements in a scene and
use the Zone System to determine how Evening, McDonald Lake, Glacier National Park (1942)[139]
the film must be exposed, developed,
and printed to achieve the desired
brightness or darkness in the final image.[142] Although it originated for black-and-white sheet film, the
Zone System can be applied to images captured on roll film, both black-and-white and color, negative and
reversal, and to digital photography.[143]

Photography department at MoMA

In 1940, with trustee David H. McAlpin and curator Beaumont Newhall, Adams helped establish the
photography department at the Museum of Modern Art (MoMA) in New York.[134] MoMA was the first
major American art museum to establish a photography department.[135][144] Adams acted as McAlpin and
Newhall's primary advisor;[145] Peter Galassi, the chief curator of the department in later years, said
"Adams's dedication and boundless energy were vital to the creation of the department and to its programs
in its early years."[146] For those who had sought institutional recognition for photography as art, the
founding of the department was an important moment, marking the medium's recognition as a subject equal
to painting and sculpture.[147]

On December 31, 1940, the department opened its first exhibition, Sixty Photographs: A Survey of Camera
Esthetics,[148] which resembled large survey exhibitions that Adams and Newhall had previously mounted
independently.[149] The exhibition took aesthetic quality as a guiding principle,[147] a philosophy that ran
counter to that of many writers and critics, who argued that the medium's more vernacular use as a means
of communication should be more fully represented.[150] Photographer Ralph Steiner, writing for PM,
remarked "on the whole it [MoMA] seems to regard photography as soft music at high tea rather than as a
jazz at a beefsteak supper."[151] Tom Maloney, publisher of U.S. Camera, wrote that the exhibition was
"very choice, very pristine, very small, very ultra."[152] According to Newhall, the exhibition was meant to
showcase artistic excellence and "not to define but to suggest the possibilities of photographic vision."[148]

Environmental protection

In his autobiography, Adams expressed his concern about Americans' loss of connection to nature in the
course of industrialization and the exploitation of the land's natural resources. He stated, "We all know the
tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the
shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The
wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost
nowhere."[153]

Awards and honors

Adams received a number of awards during his lifetime and posthumously, and several awards and places
have been named in his honor.[154]

For his photography, Adams received an Honorary Fellowship of the Royal Photographic Society in
1976[155] and the Hasselblad Award in 1981.[156] Two of his photographs, The Tetons and the Snake
River and a view of the Golden Gate Bridge from Baker Beach, were among the 115 images recorded on
the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey
information about humans, plants and animals, and geological features of the Earth to a possibly alien
civilization.[157][158]

For his conservation efforts, Adams received the Sierra Club John Muir Award in 1963.[159] In 1968, he
was awarded the Conservation Service Award, the highest award of the Department of the Interior.[63] In
1980, President Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian
honor, for "his efforts to preserve this country's wild and scenic areas, both on film and on earth. Drawn to
the beauty of nature's monuments, he is regarded by environmentalists as a national institution."[63]

Adams received an honorary artium doctor degree from Harvard University and an honorary Doctor of
Fine Arts degree from Yale University. He was elected a Fellow of the American Academy of Arts and
Sciences in 1966.[160] In 2007, he was inducted into the California Hall of Fame by California Governor
Arnold Schwarzenegger and First Lady Maria Shriver.[161]

The Sierra Club's Ansel Adams Award for Conservation Photography was established in 1971,[159] and
the Ansel Adams Award for Conservation was established in 1980 by The Wilderness Society, which also
has a large permanent gallery of his work on display at its Washington, D.C. headquarters.[162] The
Minarets Wilderness in the Inyo National Forest and a 11,760-foot (3,580 m) peak therein were renamed
the Ansel Adams Wilderness and Mount Ansel Adams, respectively, in 1985.[163][164]

In 1984 Adams was inducted into the International Photography Hall of Fame.[165][166]

Photographs

Color images
Adams was known mostly for his boldly printed, large-format black-and-white images, but he also worked
extensively with color.[167] However, he preferred black-and-white photography, which he believed could
be manipulated to produce a wide range of bold, expressive tones, and he felt constricted by the rigidity of
the color process.[168] Most of his color work was done on assignments, and he did not consider his color
work to be important or expressive, even explicitly forbidding any posthumous exploitation of his color
work.

Notable photographs
Lodgepole Pines, Lyell Fork of the Merced River,
Yosemite National Park, 1921
Monolith, the Face of Half Dome, Yosemite National
Park, 1927
Rose and Driftwood, San Francisco, California, 1932
Georgia O'Keeffe and Orville Cox, Canyon de Chelly
National Monument, 1937
Clearing Winter Storm, Yosemite National Park, c.
1937[125]
Hoover Dam in 1941
Moonrise, Hernandez, New Mexico, 1941
Evening, McDonald Lake, Glacier National Park, 1942
The Tetons and the Snake River, Grand Teton National Park, 1942
Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944[169]
Mount Williamson, Sierra Nevada, from Manzanar, California, 1944[170][171]
Aspens, Northern New Mexico, 1958[172]
Moon and Half Dome, Yosemite National Park, California, 1960[173]
El Capitan, Winter Sunrise, 1968[174]

Published works
Adams, Ansel (1948). Basic photo. New York: Morgan and Lester.
Adams, Ansel (1948). The negative: exposure and development. New York; London:
Morgan and Lester; The Fountain Press.
Adams, Ansel (1950). The print: contact printing and enlarging (https://archive.org/details/pri
ntcontactprin0000adam). Boston: New York Graphic Society. ISBN 978-0-8212-0718-5.
Adams, Ansel (1970). Camera and lens: the creative approach : studio, laboratory, and
operation. ISBN 978-0-87100-056-9.
Adams, Ansel (1974). Images 1923-1974. Boston: New York Graphic Society. ISBN 978-0-
8212-0600-3.
Adams, Ansel (1977). Natural Light Photography. Little, Brown & Co., for New York Graphic
Society. ISBN 978-0-8212-0719-2.
Adams, Ansel; Baker, Robert (1978). Polaroid Land photography. Boston: New York Graphic
Society. ISBN 978-0-8212-0729-1.
Adams, Ansel (1979). Yosemite and the Range of Light. Boston: New York Graphic Society.
ISBN 978-0-8212-0750-5.

Camera equipment
Most of Adams' best known images were taken with 8x10 and 4x5 view cameras. He also used a variety of
other negative formats, from 35mm and medium format roll film through less common formats such as
Polaroid type 55 and 7x17 panoramic cameras.

The 1958 documentary "Ansel Adams, Photographer" narrated by Beaumont Newhall gives an overview
of Ansel's toolkit at the time, with some examples of his camera outfits including:

8 x 10 view camera, 20 holders, 4 lenses - 1 Cooke Convertible, 1 ten-inch Wide Field Ektar,
1 9-inch Dagor, one 6-3/4-inch Wollensak wide angle.
7 x 17 special panorama camera with a Protar 13-1/2-inch lens and five holders.
4 x 5 view camera, 6 lenses - 12-inch Collinear, 8-1/2 APO Lantar, 9-1/4 APO Tessar, 4-inch
Wide Field Ektar, Dallmeyer London Telephoto

Adams mounted a platform on the roof of his car to allow him to take images with the view cameras from
an elevated point of view.[175]

See also
Environmental protection
Monochrome photography

Explanatory notes
1. In 2010, Rick Norsegian bought some glass negatives at a garage sale and claimed they
were some of the lost negatives, estimating their value at $200 million.[69] The Ansel Adams
Foundation contested this claim and sued. A settlement was reached in 2011 where
Norsegian could sell prints without any reference to Adams.[70]
2. Alinder 1996, p. 192, states that the image caption for Moonrise in U.S. Camera 1943 was
inaccurate, citing several discrepancies among technical details.
3. David Elmore of the High Altitude Observatory in Boulder, Colorado, had determined that
Moonrise was taken on October 31, 1941, at 4:03 pm.[91] Di Cicco noticed that the Moon's
position at the time Elmore made his determination did not match the Moon's position in the
image, and after an independent analysis, determined the time to be 4:49:20 pm on
November 1, 1941. He reviewed his results with Elmore, who agreed with di Cicco's
conclusions.[92]

Citations
1. Adams & Alinder 1985, p. 4.
2. Alinder 1996, p. 4.
3. Alinder 1996, p. 2.
4. Sierra Club (2008). "Ansel Adams and the Sierra Club: About Ansel Adams" (https://web.arc
hive.org/web/20100201212325/http://www.sierraclub.org/history/anseladams/). Sierra Club.
Archived from the original (http://www.sierraclub.org/history/anseladams/) on February 1,
2010. Retrieved February 2, 2010.
5. Whittington, Geoff (January 24, 2010). "Ansel Adams' boyhood San Francisco house" (http://
articles.sfgate.com/2010-01-24/real-estate/17835300_1_ansel-adams-bath-yosemite-nation
al-park). San Francisco Chronicle. San Francisco, CA. Retrieved April 20, 2010.
6. Alinder 1996, p. 6.
 7. Adams & Alinder 1985, p. 14.
8. "Lands End" (http://parksconservancy.org/visit/park-sites/lands-end.html). San Francisco,
CA: Golden Gate National Parks Conservancy. Archived (https://web.archive.org/web/20100
412105138/http://www.parksconservancy.org/visit/park-sites/lands-end.html) from the
original on April 12, 2010. Retrieved April 19, 2010.
9. Aitken, R. G. (1951). "In Memoriam, Charles Hitchcock Adams 1868–1951". Publications of
the Astronomical Society of the Pacific. 63 (375): 284–286. Bibcode:1951PASP...63..283A (h
ttps://ui.adsabs.harvard.edu/abs/1951PASP...63..283A). doi:10.1086/126396 (https://doi.org/
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530).
10. Adams & Alinder 1985, p. 40.
11. Alinder 1996, p. 9.
12. Alinder 1996, p. 11.
13. Adams & Alinder 1985, p. 18.
14. Alinder 1996, p. 276.
15. Alinder 1996, p. 52.
16. Adams & Alinder 1985, p. 45.
17. Adams & Alinder 1985, p. 53.
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environmentalist". American National Biography. 1.
doi:10.1093/anb/9780198606697.article.1701243 (https://doi.org/10.1093%2Fanb%2F9780
198606697.article.1701243).
20. Hammond & Adams 2002, p. 3.
21. Hammond & Adams 2002, p. 4.
22. Stillman, Andrea G. (2007). 400 Photographs. New York City: Little, Brown. p. 12. ISBN 978-
0-316-11772-2.
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25. Alinder 1996, p. 23.
26. Spaulding 1998, pp. 42–43.
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29. Secor, R. J. (2009). The High Sierra: Peaks, Passes, Trails. The Mountaineers Books.
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30. Alinder 1996, p. 47.
31. Adams & Alinder 1985, p. 9.
32. Adams & Alinder 1985, p. 27.
33. Adams & Alinder 1985, p. 28.
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38. Alinder 1996, p. 32.
39. Alinder 1996, p. 33.
40. Alinder 1996, Chapter 4.
41. Alinder 1996, pp. 34–35.
42. Alinder 1996, pp. 38–42.
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44. Adams & Alinder 1985, p. 76.
45. Alinder 1996, p. 53.
46. Alinder 1996, p. 62.
47. Alinder 1996, p. 68.
48. Alinder 1996, pp. 48, 56.
49. Bevk, Alex (September 9, 2013). "Ansel Adams' Childhood Home Hidden in Sea Cliff" (http
s://sf.curbed.com/2013/9/23/10195118/ansel-adams-childhood-home-hidden-in-sea-cliff).
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com/1984/04/24/obituaries/ansel-adams-photographer-is-dead.html). The New York Times.
ISSN 0362-4331 (https://www.worldcat.org/issn/0362-4331). Retrieved July 30, 2018.
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org/details/whoswhointwentie00brig). Oxford University Press. 2003.
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56. Spaulding 1998, p. 82.
57. Alinder 1996, p. 77.
58. Alinder 1996, pp. 67–69.
59. Alinder 1996, p. 87.
60. Adams & Alinder 1985, p. 115.
61. Alinder 1996, p. 114.
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Journal. Retrieved March 2, 2019.
69. Staff writer (July 27, 2010). "Ansel Adams Pics Bought for $45 Worth $200M?" (https://www.
cbsnews.com/news/ansel-adams-pics-bought-for-45-worth-200m/). CBS News. Retrieved
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73. Hamlin, Jesse (December 20, 2003). "Raise a toast to Ansel Adams. Sure, he was known
for landscapes, but there was more to his portfolio, as these bar photos show" (http://www.sf
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flow=6f53dd20-a9b2-4f4e-bba7-ebd5bd7347ee#sthash.6sGxAgsM.dpbs). UCR ARTS.
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s://web.archive.org/web/20190306111744/http://anseladams.com/ansel-adams-museum-set
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General and cited references

Adams, Ansel; Alinder, Mary Street (1985). Ansel Adams, an Autobiography. Boston: Little,
Brown. ISBN 978-0-8212-1596-8.
Alinder, Mary; Stillman, Andrea; Adams, Ansel; Stegner, Wallace (1988). Ansel Adams: Letters
and Images 1916–1984 (https://archive.org/details/anseladamsletter0000adam). Boston:
Little, Brown. ISBN 978-0-8212-1691-0.
Alinder, Mary Street (1996). Ansel Adams: A Biography (https://archive.org/details/anseladamsbi
ogra00alin). New York: Henry Holt and Company. ISBN 978-0-8050-4116-3.
Spaulding, Jonathan (1998). Ansel Adams and the American landscape: a biography (1st
paperback ed.). University of California Press. ISBN 978-0-520-21663-1.
Hammond, Anne; Adams, Ansel (2002). Ansel Adams: divine performance (https://books.googl
e.com/books?id=u4ZWk8_BM7IC). Yale University Press. ISBN 978-0-300-09241-7.
O'Toole, Erin (2010). No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall,
and the Founding of the Department of Photographs at the Museum of Modern Art (https://w
ww.proquest.com/docview/305184615/) (PhD). University of Arizona. 3402933.

Further reading

Biographies
Newhall, Nancy Wynne (1964). Ansel Adams. San Francisco: Sierra Club.
Szarkowski, John; Adams, Ansel; San Francisco Museum of Modern Art (2001). Ansel Adams at
100. Boston: Little, Brown and Co. ISBN 978-0-8212-2515-8.
Lynes, Barbara Buhler; Phillips, Sandra S; Woodward, Richard B; Georgia O'Keeffe Museum;
Ansel Adams Trust (2008). Georgia O'Keeffe and Ansel Adams: natural affinities. New York:
Little, Brown, and Co. ISBN 978-0-316-11832-3.
Senf, Rebecca (2020). Making a Photographer: The Early Work of Ansel Adams. New Haven:
Yale University Press. ISBN 978-0300243949.

Photographic books
Adams, Ansel; Newhall, Nancy; Brower, David (1960). This is the American earth. San
Francisco: Sierra Club – Photogravure & Color Co.
Adams, Ansel (1960). Portfolio three: Yosemite Valley. Sixteen original photographic prints by
Ansel Adams. San Francisco: Sierra Club – Grabhorn Press.
Sutton, Ann; Sutton, Myron; Adams, Ansel (1969). The American West; a natural history. New
York: Random House.
Adams, Ansel; Stegner, Wallace; Childs, Betty; Wilson, Adrian; Waters, George; New York
Graphic Society; Mackenzie & Harris; S.D. Warren Company; Hiller Bookbinding, Inc (1974).
Ansel Adams: images 1923–1974. ISBN 978-0-8212-0600-3.
Adams, Ansel; Powell, Lawrence Clark (1976). Photographs of the Southwest: selected
photographs made from 1928 to 1968 in Arizona, California, Colorado, New Mexico, Texas,
and Utah, with a statement by the photographer. ISBN 978-0-8212-0699-7.
Adams, Ansel; Szarkowski, John; Hill, Tim (1977). The portfolios of Ansel Adams (https://archiv
e.org/details/portfoliosofanse00adam). ISBN 978-0-8212-0723-9.
Adams, Ansel; Brooks, Paul; Szarkowski, John; New York Graphic Society (1979). Yosemite
and the range of light. New York: Museum of Modern Art. ISBN 978-0-87070-649-3.
Alinder, James; Szarkowski, John; Adams, Ansel (1986). Ansel Adams: classic images. Boston:
Little, Brown. ISBN 978-0-8212-1629-3.
Armor, John; Wright, Peter; Hersey, John; Adams, Ansel; Hersey, John; Mazal Holocaust
Collection (1988). Manzanar 林子園 (https://archive.org/details/manzanarringoen00armo).
New York: Times Books. ISBN 978-0-8129-1727-7.
Adams, Ansel; Stillman, Andrea Gray (1990). The American wilderness. ISBN 978-0-8212-
1799-3.
Adams, Ansel; Pritzker, Barry (1991). Ansel Adams (https://archive.org/details/anseladams00ad
am). New York: Crescent Books. ISBN 978-0-517-06034-6.
Adams, Ansel; Stillman, Andrea Gray; Turnage, William A (1992). Our national parks (https://arc
hive.org/details/ournationalparks0000adam). ISBN 978-0-8212-1910-2.
Adams, Ansel; Callahan, Harry M; Schaefer, John Paul; Stillman, Andrea Gray (1993). Ansel
Adams in color (https://archive.org/details/anseladamsincolo0000adam). Boston: Little,
Brown. ISBN 978-0-8212-1980-5.
Adams, Ansel; Stillman, Andrea Gray; Szarkowski, John (1994). Yosemite and the High Sierra.
Boston; New York; Toronto: Little, Brown and Company. ISBN 978-0-8212-2134-1.
Adams, Ansel; United States National Park Service (1995). Ansel Adams: the National Park
Service photographs. ISBN 978-0-89660-056-0.
Castleberry, May; Sandweiss, Martha A; Chávez, John; Whitney Museum of American Art
(1996). Perpetual mirage: photographic narratives of the desert West (https://archive.org/deta
ils/perpetualmiragep0000cast). ISBN 978-0-87427-100-3.
Adams, Ansel; Stillman, Andrea Gray (2007). Ansel Adams: 400 photographs. New York: Little,
Brown. ISBN 978-0-316-11772-2.
Adams, Ansel; Stillman, Andrea Gray; Woodward, Richard (2010). Ansel Adams in the national
parks: photographs from America's wild places. New York: Little, Brown and Co. ISBN 978-
0-316-07846-7.
Adams, Ansel; Newhall, Nancy; University of California Press (2012). Fiat lux: the University of
California. Berkeley: University of California Press.
Adams, Ansel; Galassi, Peter (2014). Ansel Adams in Yosemite Valley: Celebrating the Park at
150. New York: Little, Brown and Co. ISBN 978-0316323406.
Adams, Ansel; Souza, Peter (2019). Ansel Adams' Yosemite: The Special Edition Prints. New
York: Little, Brown and Co. ISBN 978-0316456128.

Young adult and children's books

Dunlap, Julie; Maguire, Kerry (1995). Eye on the wild: a story about Ansel Adams (https://archiv
e.org/details/eyeonwildstoryab0000dunl). Minneapolis: Carolrhoda Books. ISBN 978-0-585-
32289-6. Retrieved March 4, 2019.
Gherman, Beverly (2002). Ansel Adams: America's photographer; a biography for young people.
Boston: Little, Brown and Company. ISBN 978-0-316-82445-3.
Jenson-Elliott, Cynthia L; Hale, Christy (2016). Antsy Ansel: Ansel Adams, a life in nature.
ISBN 978-1-62779-082-6.

Documentaries
Huszar, John (Producer and Director); Gray, Andrea (Producer) (1986). Ansel Adams,
photographer. Beverly Hills, CA: Pacific Arts Video.
Burns, Ric (Producer and Director); Ness, Marilyn (Producer) (2002). Ansel Adams : a
documentary film. American Experience. Alexandria, VA?: PBS DVD Video : Distributed by
PBS Home Video. ISBN 978-0-7806-3939-3.

External links
American Memory – Ansel Adams (http://memory.loc.gov/ammem/aamhtml/aamhome.html)
"Suffering Under a Great Injustice" Ansel Adams's Photographs of Japanese-American
Internment at Manzanar From the American Memory Collection of the Library of Congress.
Records of the National Park Service – Ansel Adams Photographs (https://www.archives.go
v/research/ansel-adams/) 226 high-resolution photographs from National Archives Still
Picture Branch.
All Ansel Adams Images Online Center for Creative Photography (CCP) (http://ccp-emuseu
m.catnet.arizona.edu/view/people/asitem/A/3?t:state:flow=d60124d8-3efa-4f13-815f-836f0b
8744e0) CCP at the University of Arizona has released a digital catalog of all Adams's
images.
Art of Ansel Adams (https://www.europeana.eu/portal/search?q=Adams%2C+Ansel) at
Europeana. Retrieved {{{accessdate}}}
10 Facts About Ansel Adams (http://mentalfloss.com/article/533616/10-snappy-facts-about-a
nsel-adams) (Mental Floss)
Ansel Adams (https://www.findagrave.com/memorial/2967) at Find a Grave
Encyclopædia Britannica (https://www.britannica.com/biography/Ansel-Adams-American-ph
otographer)

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