New Release: Mt. McKinley, Wonder Lake – Modern Replica Print

Ansel Adams’ 1947 masterpiece captured in Denali National Park, Alaska

Mount McKinley at 20,320 feet is the highest peak in North America.

Collectors have found the gallery’s “Modern Replicas” a welcome addition to the options for collecting the work of Ansel Adams. The prints’ quality is on par with the contemporary photographs using the latest printing techniques. For the collection, the gallery have chosen prints from the collections of the Ansel Adams family and the Ansel Adams Archive at the Center for Creative Photography at the University of Arizona.

Now the gallery is introducing a print of the majestic image “Mt. McKinley, Wonder Lake” taken in Denali National Park, Alaska in 1947.

The photo of Mount McKinley with Wonder Lake in the foreground was taken in the summer while Adams was in Alaska on a Guggenheim Fellowship trip. It was one of the rare cloudless days of that summer in Alaska. Adams and his son Michael spent a week in the ranger station waiting for the right conditions. The image was ultimately captured with his trusty 8×10 camera at 1:30 in the morning.

The print is available in sizes from 8×10” to 30×38” printed on heavy paper that mimics the look and feel of gelatin silver paper. It is shipped dry mounted to an acid-free foam core backer. The 8-ply overmats are museum quality acid-free rag board, also hinge mounted to the backer. The prints are also available framed in both Valley Wood or Matte Black. To find out more about the print and owning Mt. McKinley, Wonder Lake as a Modern Replica Print.

Read more stories from the making of this photograph:

Mt. McKinley Bears Invade Ranger Cabin
The Mosquitos Stole the Show on Mt. McKinley Negatives

Ansel Adams Defined the Modern Environmental Movement

Read Ansel’s 1968 speech to the DNC

As we celebrate Earth Day this year we are reminded of the diligence required to affect change. Today the environment continues to be attacked and the clock is being turned back on progress on many fronts. Ansel Adams spent decades in the battle to protect our environment. At his core, his activism was driven by his love of the environment and his humanity.

The tumultuous 1968 Democratic National Convention included a visit from Ansel. Ever the outspoken environmentalist, Ansel gave a presentation to the DNC Platform Committee. His remarks, reprinted here , were prescient and are unfortunately more apt today than 50 years ago.

The message he presented was a foretelling of the climate crisis we face today.

“The fearful problem before us now is HOW TO SAVE THIS PLANET AS A WORLD TO LIVE IN. Conservation is implicitly more important than war and peace, politics, racism, national and international problems and jealousies. If the basic portents of ecology, natural and human, are not heeded, man is surely doomed.“

1968 was also a year of cultural upheavals in the US. The VietNam war was raging as well as a dramatic anti-war movement which spilled onto the streets of Chicago that summer. It was also a time that the modern day environmental movement was growing. By the spring of 1970 the first Earth Day was celebrated and 20 million Americans took to the streets in coast to coast rallies.

Looking at Adams’ early commitment to environmental activism (starting in the 30s) we are reminded of the ongoing work required to preserve and protect our wilderness. Adams was an unremitting activist for the cause of wilderness and the environment. Over the years he attended innumerable meetings and wrote thousands of letters in support of his conservation philosophy to newspaper editors, Sierra Club and Wilderness Society colleagues, government bureaucrats, and politicians.

In revisiting his speech at the 1968 convention Adams concludes that the prime question should not be “What will conservation cost?” but “What will the ultimate cost be if the conservation of all resources is not fully considered?”

A World of Alternatives – Original Photographs by Mark Citret, Jeffrey Conley, Vaughn Hutchins and Kerik Kouklis

Killion’s High Sierra

Born Free and Equal – Slideshow

The Way We Take Photos Has Changed, But What Ansel Adams Brought To The Craft Hasn’t

By Robin Lubbock
Leaning close into Ansel Adams’ photograph “Canyon de Chelly National Monument,” created in 1942, I saw the fine dark outline of a tree, far away, down by the river. It was so clear, and so sharp, I felt like I could reach out my hand and gently lift it from the valley floor.

I’ve been making images professionally almost all of my adult life, and like so many of us today, I have a camera in my pocket at all times, and I document life as I go. Making pictures is easy these days. But it wasn’t always that way, and as I walked from print to print through the Museum of Fine Arts’ “Ansel Adams In Our Time” exhibition, I could feel the excitement of a very different era of photography pulling me along, my heart in my throat. It took me back to my days of black and white photography, pushing film into cameras, bathing it in developer, printing on glossy paper in the red light of a darkroom, and letting the soft illumination of an enlarger play through my fingers as I struggled to get the print I wanted….read more

Ansel Adams: The Early Years, at the Longmont Museum

The Longmont Museum’s latest exhibit Ansel Adams: Early Works launched Friday, Jan. 28, 2019 with an opening reception, complete with appetizers, a cash bar and live music on the Museum’s own Shigeru Kawai piano. Cocktail attire was requested, and many attendees complied, so it was a very happy evening, with a magnificent display of photographs to enjoy as well.

But what goes into putting together such an exhibition for us all to appreciate? Erik Mason, the museum’s History curator explained the process of this and the other major traveling collections that the museum presents.

The photographs in this exhibition were from the collection of New York residents Michael Mattis and Judith Hochberg, who also have a similar collection of works by Edward Weston and other notable 20th century photographers. Such collectors of artwork are usually very happy to share and are eager to find the best way to do this…read more

Ansel Adams in a New Light

The National Parks are in partial shutdown. But America’s wilderness shines in a show at the Museum of Fine Arts in Boston that reveals how human intervention has changed purple mountains’ majesty.


By Vicki Goldberg – The New York Times
January 17, 2019

BOSTON — Ah, wilderness! It’s our answer to Europe’s cathedrals, our proof of a unique national identity.

Most citizens were first introduced to the wilderness by images. In the early 19th century, Thomas Cole placed the eastern wilderness — his beloved Catskill Mountains — on walls. Later in the century, Carleton Watkins’s 1861 photographs of Yosemite contributed heavily to Lincoln’s decision in 1864 to secure the valley forever “for public use, resort and recreation,” the first time any government anywhere set aside land to benefit the public.

William Henry Jackson’s 1871 photographs of Yellowstone helped persuade Congress to establish the first national park in 1872. Then in the 1930s, Ansel Adams (1902-1984), a staunch conservationist who had grown up near the windswept dunes of Golden Gate Park, lobbied Congress and sent the government a book of his photographs of the southern Sierra Nevada range. They strongly influenced President Franklin Roosevelt’s decision to make the Kings Canyon area a national park. Read more at The New York Times

Apricity: noun. The Warmth of the Winter Sun.

  • El Capitan, Sunset, Winter
  • Backlit Snowy Black Oak
  • Backlit Pines, Bridalveil Fall, Winter
  • Sunlit Spackled Black Oak Grove
  • Black Oaks in a Snow Squall
  • Boulders and Bands of Ice, 2
  • Pebbles and Ice, Yosemite
  • Brave Brave Sir Robins (and perhaps a lady or two)
  • Bison and Clepsydra Geyser, Yellowstone
  • Clinging Clouds, Dawn, Yosemite
  • Frosty Pines, Yellowstone

See all Exhibition Photographs

I fell in love with winter in Yosemite. After all, I’d spent most of my life in New England where winters, though often pretty, were synonymous with concepts like bone-chilling and raw. There, it was a season to be endured, where backs ached from shoveling and ice was an obstacle to progress. In Yosemite, I truly discovered its beauty when an already spectacular landscape was adorned in winter robes. And I thoroughly enjoyed being out in it. I marveled how in Yosemite Valley, in particular, it was a simple matter to view a frozen landscape from the comfort of a warm sunny spot. And each storm brought its own artist, adept at melding color, light and forms in infinite ways, and scribbling poetry in the smallest of details. When Winter arrived, I was eager to get outside and discover everything it had to say.

I first heard the word apricity spoken by Ammon Shea, the author who had just completed a one-year, 21,370-page traipse through the Oxford English Dictionary. He read each word and its definition as one would read a novel, and upon completion, wrote his own treatise, Reading the OED – One Man, One Year, 21,730 Pages, published by Perigree in 2009. Ammon was recounting ten of his favorite words from his lexiconic adventure, and apricity was among those that stood out to him. I could see why. Apricity describes the subtle warmth of the winter sun. It is a warmth that might only change the temperature a degree or two on a chilly winter day, but that slight change in temperature balances the world between two states. It is all that separates drops of melt-water and crisp, fresh snowflakes that squeak underfoot. I certainly knew the feeling of apricity, I had just never heard one word describe it so succinctly.

When I teach, I liken the process of learning photography with learning a new language, the language of light. Like any language, we start by learning a basic vocabulary. Next we try to arrange the words into meaningful sentences. Then paragraphs. Eventually, if we take the time and immerse ourselves in the task, we may become fluent. Beyond fluency is an even greater goal, the goal of the artist: to be poetic.

Poetry comes with command of a language, an understanding of nuance and an economy of words. It is a distillation that reveals the essence of the subject. Similarly, photography is a distillation of the scene. We can’t include everything before us in every image, so we select just the elements that are essential and exclude the rest. A powerful, precise, poetic word like apricity is the verbal equivalent of a successful image. Simply beautiful.


In Memory of Peter Hoss

November 29, 2018

Memorial Service to be held on Saturday, January 19, 2019 at 1 PM
Church of the Good Shepherd – 300 Corral De Tierra Rd. Salinas, CA 93908

Peter Hoss with Jeanne Falk Adams and her children Matthew and Sarah on the beach at Tenaya Lake, Yosemite National Park, circa 1972

Peter Hoss, a member of the Board of Directors of The Ansel Adams Gallery in Yosemite National Park, passed on November 29, 2018, in Monterey, California.

The Adams and Hoss families have been close friends since the 1920s, when Herman Hoss was the personnel director in Yosemite for the Yosemite Park and Curry Company and the Yosemite Magistrate. Della Hoss was an artist, Ansel Adams was photographing, and Virginia Best Adams was helping her artist father Harry Best in his Yosemite studio. In Yosemite, at the Lewis Memorial Hospital, Michael Adams was born in 1933 and Peter Hoss was born six months later in 1934; they have been close friends since infancy. Their wives and children have long been friends and all have artistic influences coursing through their veins. Peter and his family moved to Palo Alto during World War II, and later Peter and Michael were in the same class at Stanford. Peter received his law degree from Stanford Law School in 1958, ultimately settled in Salinas and practiced law with Noland, Hamerly, Etienne and Hoss. His love of Yosemite, where he was born, continued throughout his long, engaged life. Peter was passionate about justice and accountability and would go to great lengths to defend established rights. An example was his testifying before the Subcommittee on Public Lands and Environmental Regulation July 9,2013 regarding Public Impacts of Closing Amenities in Yosemite.

All of us at The Ansel Adams Gallery who knew Peter will miss his insights, knowledge, friendship and presence. We all will continue to know and love his sons Martino (artist), Vincent (architect) and their families.

Jeanne Falk Adams, former President and General Manager of The Ansel Adams Gallery