About the Photograph – Saint Francis Church, Ranchos de Taos, New Mexico

St. Francis Church in New Mexico by Ansel Adams – available as a matted reproduction for $135.

“Many of my early photographs were made on orthochromactic glass plates or film” wrote Adams, “which gave a lighter value for blue sky than does panchromatic film.” The photograph was made in the afternoon with no filter, rendering the blue sky quite pale and the shadows soft. “This image is an experience in light” wrote Adams.

Some of the twentieth century’s greatest artists (Paul Strand and Georgia O’Keefe, among others) have also interpreted the church, although Adams had not seen their works when he made this photograph. The rear elevation, he wrote, “define this building as one of the great architectural monuments of America.”

New Exhibit in Yosemite “In Harmony: Light and Land”, Photographs by Charles Cramer

Cramer_TenLakes
May 30 – July 27, 2013 (Reception June 5th from 3-5 PM)

Charles Cramer is a photographer who revels in exploration and craftsmanship. A masterful artist, his career broadly parallels that of Ansel Adams: an early focus on music, finding inspiration in Yosemite National Park, and exploring the developing medium of photography. Charles has worked in the darkroom for many years, mastering the complex Dye Transfer process. He was also one of the first landscape photographers to work with the “digital darkroom”, offering more control to realize his artistic interpretation of the scene.

Cramer was selected by the National Park Service to be an artist-in-residence in Yosemite in 1987 and again in 2009. He is also included in the books “Landscape: The World’s Top Photographers,” published in 2005, and “First Light: Five Photographers Explore Yosemite’s Wilderness,” published in 2009.

Remembering Liliane De Cock Morgan, Photographer, assistant to Ansel Adams

Liliane De Cock Morgan by Ansel AdamsLiliane De Cock Morgan, a child of World War II Belgium who later became a vital part of the west coast fine photography world and photographic assistant to Ansel Adams, before continuing her career in the New York area, died quietly in her home in Wiscasset, Maine, due to complications from cancer, on May 25th.  She was 73 and had moved to Maine in 2010 from Ridgefield, Connecticut.

In Morgan’s 1973 monograph, Ansel Adams described her photography in the introduction: “De Cock presents to us a personal, private world.  It is a world of individualistic beauty and intensity. She communicates to all who will respond; she relates to no particular pattern of concept or execution.  Hers is fine photography—and what more can one say?”  Their association had begun a decade earlier when photographer Brett Weston had recommended Morgan for a short-term position spotting prints for his Portfolio IV.  Adams wrote, “I was quite impressed with her work from the start and with her perseverance in finishing off some four thousand prints.  She stayed on with me for a little more than nine years…” Morgan was a full-time photographic assistant to Adams from 1963 to 1972, and lived nearby the Adams home in Carmel, California.

During this time working with Adams she printed his master works, prepared prints for exhibitions, travelled with him to capture images, instructed in summer workshops, and was an integral part of the social environment that connected scores of artists, intellectuals, and conservationists of that time.  Between 1964 and 1967 Morgan supported Adams and Nancy Newhall as they captured images and stories for Fiat Lux, the University of California system’s centennial book.  Along the way she learned the craft of photography by apprenticeship as well as through her own experience traveling throughout the United States.  It was a remarkable ascent considering her challenging beginnings.

Born September 11, 1939 in a suburb of Antwerp, daughter of a milkman and a mother she never met, Morgan lived with the rigors of wartime northern Europe.  During the war she and other children were sent to orphanages in the south of Belgium to be safe from potential bombing.  These separations left a lasting impact on Morgan. After the war she grew up amidst hunger, family strife, and a succession of stepmothers.  At age 14 she left home and never returned. She finished secondary school through her own perseverance, but was unable to fulfill her dream of a university education.  Instead, she worked factory jobs, including time in the darkroom at Gevaert, a company that made photographic materials and is now part of AGFA, saving money until she could legally leave the country without parental consent at age 21.  Within two months of her birthday in 1960 she was aboard a ship to New York to begin a new life, a vision she had held since the age of 12.

Within days her life had truly set on a dramatic new course.  On the boat she met photographer Brett Weston, son of Edward Weston, who was then traveling on a Guggenheim Fellowship.  By the end of the voyage they had formed what would become a life-long friendship with big implications for Morgan’s new life.  She spent less than a year in New York, before moving to California where, after only minor dabbling in photography as a hobby, she was introduced to Ansel Adams by Weston.

As described by the Joseph Bellows Gallery: “Under the guidance of Ansel Adams and with a 4 x 5 inch camera lent to her by the artist, Morgan began photographing the landscape and soon developed a unique vision and printing style which utilizes the full tonal scale of the medium with a strong attention to the melancholic values.”  Each year Adams would grant Morgan 3-6 weeks of vacation in which she would travel alone around the continental United States capturing images of rural America.

Morgan’s skill grew as she also contributed more to the photographic community of that time. In personal correspondence Ansel Adams, in the mentor role, once wrote, “I have unlimited faith in you as a person and as a photographer!!”  She eventually instructed in and coordinated the Ansel Adams Yosemite Workshops and was a founding trustee of the Friends of Photography, among other contributions.  By the early 1970s she was recognized as a fine photographer. She received a number of awards, including a Guggenheim Fellowship in 1972. Her important early solo exhibitions included the George Eastman House (1970), the Massachusetts Institute of Technology (1971), the Witkin Gallery (1972), the University of Rhode Island (1972), and the Amon Carter Museum (1973), among other venues.

Morgan left Carmel in 1972 after her marriage to Douglas Morgan, publisher of Ansel Adams’ early technical photography books, who she had met during a workshop in Yosemite Valley.  She moved to Dobbs Ferry, New York, and later to Pound Ridge, New York where she started a family and became enmeshed in the Morgan family businesses.  Working with Douglas and her brother-in-law, Lloyd Morgan, at Morgan & Morgan publishers and Morgan Press, she edited over a dozen monographs of prominent photographers, edited the Photo Lab Index, and contributed to many other fine photography titles.  At the same time she became master printer for her mother-in-law, famed dance photographer Barbara Morgan, who, along with her deceased husband, Willard Morgan, had been a colleague and friend of Ansel Adams for over 40 years.

During this time Morgan shifted much of her personal creativity towards raising her only son, Willard Morgan.  She studied cooking techniques from around the world, nurtured a small menagerie of domestic animals, and continued a hobby from her Carmel days of discovering unique treasures at flea markets and antique stores.  Photographically, she tried her hand at architectural photography, documented summers at Camp Treeptops in Lake Placid, New York, and experimented with still life scenes.  Morgan issued a limited edition portfolio of her most prominent work in the early 1980s and had her last solo exhibition in her homeland of Belgium at FotoMuseum Antwerpen in 1991.  A number of later books, including the History of Women Photographers by Naomi Rosenblum (1994), recognized Morgan’s contribution to the world of photography.

After a divorce in 1997, Liliane moved and remained connected to photography as a technician in a custom photo lab in Ridgefield, Connecticut, where she transitioned from black and white darkroom technique to the new technology of digital printing, learning full color techniques as well. In 2002 Morgan attended the Ansel Adams Centennial in Yosemite Valley where she spoke in a panel of all the living former photographic assistants.  She was one of only two women who held that role for Adams (the other being Morgan’s close friend, Gerry Sharpe).

In 2010, Morgan retired from full-time work and moved to Wiscasset, Maine where she enjoyed being near family and the big sky vistas of the ocean.  Morgan is survived by her son, Willard Morgan, his wife, Jenn Barton, and her granddaughters Sierra Morgan (6 years) and Zella Morgan (6 months), all of Alna, ME.  In addition to her son, she is survived by five stepchildren: Adele Morgan, Eric Morgan, Lael Morgan, Seth Morgan, Jennifer Morgan, and their families.  A private service will be held this summer.

Contact
Willard Morgan
P.O. Box 35
Alna, ME  04578
207-586-5144
willardseanmorgan@gmail.com

Looking at Ansel Adams: The Photographs and the Man

Check out this wonderful lecture on Ansel Adams by his former Assistant, Andrea Stillman.

for more video on and about Ansel Adams, see our Video page

White House Ruin

White House Ruin, Canyon de Chelly National Monument, Arizona, 1942 -- available as an Archival Replica

White House Ruin, Canyon de Chelly National Monument, Arizona, 1942 — available as an Archival Replica

“Only when I had completed the prints [of this image] months later did I realize why the subject had a familiar aspect: I had seen the remarkable photographer made by Timothy O’Sullivan in 1873, in an album of his original prints that I once possessed. I had stood unaware in almost the same spot of the canyon floor, about the same month and day, and at nearly the same time of day that O’Sullivan must have made his exposure, almost exactly sixty-nine years earlier.” Adams’ photograph differs from O’Sullivan’s; he included a triangle of sky in the upper right corner and used a filter to darken the sky and cliffs.

White House Ruin is featured as one of the Images of the Southwest

Dogwood Blossoms


Ansel Adams made this image with a 5″ x 7″ view camera in 1938, the year he trekked through the high sierra with Edward Weston. Depending upon the year, dogwoods typically peak during April or May in Yosemite , evoking bursts of starlight against the bare forest backdrop. This dramatic contrast prompted Adams to compose one of his only still-life images. To capture the 12 blossoms in this spectacular spray of dogwoods, he placed them atop a nearby rock covered with pine needles and lichen.

The Sierra Club published “Dogwood Blossoms” in 1960 after Ansel Adams selected it, along with 15 other images, for inclusion in “Portfolio III, Yosemite Valley .” Later, Adams selected it for his Museum Set Collection, a retrospective portfolio of what he considered his strongest work. The image has been published in Classic Images , the book based on the Museum Set, Yosemite and the Range of Light (out of print) , Yosemite, The Portfolios of Ansel Adams, Yosemite and the High Sierra, and Ansel Adams Monograph (out of print)

Winter Sunrise, Sierra Nevada from Lone Pine, 1944 – Modern Replica in sizes up to 30″x38″

Winter Sunrise from Lone Pine

Winter Sunrise, Sierra Nevada from Lone Pine, 1944 by Ansel Adams

On four successive mornings Adams tried to take this photograph from the east side of the Sierra. On the fifth day it was still dark and bitterly cold when he set up his camera on the new platform on top of his car and retreated to the warm interior. As dawn drew near, he returned to the camera to await the sun’s first rays on the meadow. “I finally encountered the bright, glistening sunrise with light clouds streaming from the southeast and casting swift moving shadows on the meadow and dark rolling hills.” At the last possible moment, the horse turn to offer a profile view. Many years later he wrote “Somethings I think I do get to places just when God’s ready to have somebody click the shutter!”

Purchase this Modern Replica

Re-Introducing “Half Dome, Olmsted Point”

Half Dome, Olmsted Point – Yosemite Special Edition Photograph has been re-released

Half Dome, Olmstead Point - A Yosemite Special Edition Photograph

Half Dome, Olmsted Point – A Yosemite Special Edition Photograph by The Ansel Adams Gallery

It has been many years since this photograph, part of the Yosemite Special Edition Photograph series has been available. Half Dome, Olmsted Point was photographed by Ansel Adams in 1959. We are pleased to be able to re-introduce this stately photograph back into the series. Purchase this Photograph

Yosemite Special Edition Photographs – Ansel Adams launched the Yosemite Special Edition series in 1958. Today, Alan Ross makes each Special Edition Photograph by hand from Adams’ original negative on gelatin silver fiber paper. Ross, a master printer and fine art photographer in his own right, began working side-by-side with Adams as his photographic assistant in 1974; he’s been the exclusive printer of this series since 1975. Each of the prints in this limited series bears an identifying stamp. Yosemite Special Edition Photographs are available only from The Ansel Adams Gallery. Starting at $295. See all Yosemite Special Edition Photographs

Stone & Brush: The Paintings of Penny Otwell

Exhibit runs from August 20th – September 30th (Reception September 13th, from 3-5 PM) at The Ansel Adams Gallery in Yosemite National Park.

Like the voice of a singer, a visual artist has her own signature style.  I am an “alto” in the choir of painters I know.  My work has evolved from 48 years of painting outdoors and hiking in the Yosemite Sierra. Using a brush and palette knife to design paintings of granite and metamorphic mountains, here is my 2012 show, STONE & BRUSH. See more of  Penny Otwell’s artwork

 This past winter was unique as the High Country roads were open due to the lack of snow.  I did an initial series of drawings on large paper starting in December 2011, working “en plein air” without the normal crowds of people at the most popular spots.  At Glacier Point and on Tioga Pass road I next worked drawings in ink directly on canvas (30 x 24”) for paintings I would complete in the studio.  The work began to change, leaving visible lines next to opaque and transparent paint and the paintings began to sing to me with clarity.

Each piece has several thin transparent glazes that produce a rich depth and harmony. Oranges, golds, teal greens — but few blues, another big change in my work for this show.  As the year progressed, this series of paintings of warm shadows, instead of cool, gathered into a cohesive body of work.

In books I’ve studied about painting, I’ve learned to leave ”line” out of my work, focusing on shapes.  But I decided to let line predominate because of my love of drawing.  This journey has been a fun exploration of line and color.  Some paintings were done from drawings I made in Yosemite in the ‘70’s and ‘80’s and others were drawn just this year.  *

The paintings reflect my connection with nature while the line portrays the strength of the mountains and the jewel tones communicate how I feel about them.  I trust they will sing for you!

 Penny Otwell, 2012

Unicorn Peak, Thunderclouds

Unicorn Peak, Thunderclouds by Ansel Adams

Unicorn Peak, Thunderclouds by Ansel Adams

Ansel Adams made this image with a medium format camera around 1967 in late spring or early summer when heavy snow still swathed the granite peaks of the Cathedral Range south of Tuolomne Meadows. The billowing thunderclouds piled high above the peak are atypical so early in the year and indicate the photograph was taken on an exceptionally hot day when the heat would have created the massive evaporation to form the clouds.

For many years, Adams led photography workshops in Yosemite . Each June, hundreds of students would arrive for the two-week sessions. The workshops often visited the high sierra and Adams may have captured this image during a workshop excursion, using it as an example of visualizing a subject from concept to print.