{"id":10295,"date":"2019-02-11T06:21:01","date_gmt":"2019-02-11T11:21:01","guid":{"rendered":"http:\/\/gregcookland.com\/wonderland\/?p=10295"},"modified":"2019-02-11T06:21:01","modified_gmt":"2019-02-11T11:21:01","slug":"ansel-adams","status":"publish","type":"post","link":"https:\/\/gregcookland.com\/wonderland\/2019\/02\/11\/ansel-adams\/","title":{"rendered":"Reckoning With Ansel Adams\u2019s Photos Of A Mythic, Pristine American Wild West"},"content":{"rendered":"<p>In April 1927, 25-year-old photographer Ansel Adams and a handful of friends climbed toward Half Dome at Yosemite National Park in California. The iconic granite peak, round except for one sheer vertical face, rises nearly 5,000 feet above the valley floor.<\/p>\n<p>They lugged Adams\u2019s bulky view camera, wooden tripod and 12 glass-plate negatives up a rocky cleft scoured by a chilly wind, while Virginia Best (who married Adams the following January) filmed their adventure. The group watched a waterfall roaring down into the canyon. They crossed patches of snow and ice and sheer rock until Adams reached the Diving Board, a granite shelf on the west shoulder of Half Dome, overhanging the valley below. By the time, Adams got there, he had used all but two of the negatives.<\/p>\n<p>Adams lined up his photograph in the ground glass on the back of the camera, where it appeared upside-down and backwards. \u201cI saw the photograph as a brooding form, with deep shadows and a distant sharp white peak against a dark sky,\u201d Adams wrote in his 1983 book \u201cExamples: The Making of 40 Photographs.\u201d<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/C41s5N8_fCc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>He later attested, before he took the photo, he was trying for the first time to visualize exactly what he was aiming for. \u201cThe ability to anticipate\u2014to see in the mind\u2019s eye, so to speak\u2014the final print while viewing the subject makes it possible to apply the numerous controls of the craft in precise ways that contribute to achieving the desired result.\u201d<\/p>\n<p>He attached a red filter to bring out the deep shadows and contrasts. He exposed the negative for five long seconds to capture the sheer, forbidding, steely black rock face\u2014in his words, \u201cthe majesty of the sculptural shape of the Dome in the solemn effect of half sunlight and half shadow.\u201d<\/p>\n<figure id=\"attachment_10308\" aria-describedby=\"caption-attachment-10308\" style=\"width: 791px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10308\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome-791x1024.jpg\" alt=\"Ansel Adams, &quot;Monolith \u2013 The Face of Half Dome, Yosemite National Park,&quot; 1927, print date: 1950\u201360, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"791\" height=\"1024\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome-791x1024.jpg 791w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome-232x300.jpg 232w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome-768x994.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome-370x479.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams04_monolith_the_face_of_half_dome.jpg 1170w\" sizes=\"(max-width: 791px) 100vw, 791px\" \/><\/a><figcaption id=\"caption-attachment-10308\" class=\"wp-caption-text\">Ansel Adams, &#8220;Monolith \u2013 The Face of Half Dome, Yosemite National Park,&#8221; 1927, print date: 1950\u201360, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>The resulting photo is one of five that open the exhibition <a href=\"https:\/\/www.mfa.org\/exhibitions\/ansel-adams-in-our-time\" target=\"_blank\" rel=\"noopener\">\u201cAnsel Adams in Our Time\u201d at Boston\u2019s Museum of Fine Arts<\/a> from Dec. 13, 2018, to Feb. 24, 2019. Nearby is Adams\u2019s photo from a decade later of \u201cClearing Winter Storm, Yosemite National Park,\u201d of majestic clouds raked by the snowy valley\u2019s peaks. The show ranges through photos of the moon rising over a New Mexico cemetery and the shimmering Snake River winding toward Wyoming\u2019s Grand Tetons and other classic photos that have come to define the places.<\/p>\n<p>\u201cWe start in Yosemite, which was his home place, which really was his touchstone throughout his life,\u201d says MFA curator Karen Haas, who organized the show. She aims to put Adams in context. \u201cAdams has always been one of those artists who has been treated as a singular figure, came out of nowhere, influenced by no one.\u201d Haas aims to situate Adams between the 19th century surveyor photographers who preceded him and the 20th and 21st century conceptual photographers who followed, interrogating and deconstructing what had come before.<\/p>\n<figure id=\"attachment_10309\" aria-describedby=\"caption-attachment-10309\" style=\"width: 684px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10309\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley-684x1024.jpg\" alt=\"Ansel Adams, &quot;Self\u2010Portrait, Monument Valley, Utah,&quot; 1958, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"684\" height=\"1024\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley-684x1024.jpg 684w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley-200x300.jpg 200w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley-768x1150.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley-370x554.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams05_self_portrait_monument_valley.jpg 1170w\" sizes=\"(max-width: 684px) 100vw, 684px\" \/><\/a><figcaption id=\"caption-attachment-10309\" class=\"wp-caption-text\">Ansel Adams, &#8220;Self\u2010Portrait, Monument Valley, Utah,&#8221; 1958, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<hr \/>\n<p><em>If this is the kind of coverage of arts, cultures and activisms you appreciate, please support Wonderland by <a href=\"https:\/\/www.patreon.com\/wonderlandlandfanclub\" target=\"_blank\" rel=\"noopener\">contributing to Wonderland on Patreon<\/a>. And <a href=\"https:\/\/gregcookland.com\/wonderland\/subscribe\/\" target=\"_blank\" rel=\"noopener\">sign up for our free, weekly newsletter<\/a> so that you don&#8217;t miss any of our reporting.<\/em><\/p>\n<hr \/>\n<p><strong>\u2018I Am Not Afraid Of Beauty\u2019<\/strong><\/p>\n<p>The first recorded visit to Yosemite Valley by non-indigenous people was an 1851 patrol by the Mariposa Battalion, a state-sponsored militia sent to eradicate indigenous people from the area. The 19th century photographers who followed were often surveyors\u2014military analysts figuring out the lay of the land so they could help eradicate native peoples or real estate prospectors looking for the best places to lay down railroad tracks or throw up buildings.<\/p>\n<figure id=\"attachment_10317\" aria-describedby=\"caption-attachment-10317\" style=\"width: 827px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10317\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point-827x1024.jpg\" alt=\"Carleton E. Watkins, &quot;Mount Starr King and Glacier Point, Yosemite, No. 69,&quot; 1865\u201366, photograph, mammoth albumen print from wet collodion negative. (Courtesy, Museum of Fine Arts, Boston)\" width=\"827\" height=\"1024\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point-827x1024.jpg 827w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point-242x300.jpg 242w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point-768x951.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point-370x458.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picWatkins06_mount_starr_king_and_glacier_point.jpg 1170w\" sizes=\"(max-width: 827px) 100vw, 827px\" \/><\/a><figcaption id=\"caption-attachment-10317\" class=\"wp-caption-text\">Carleton E. Watkins, &#8220;Mount Starr King and Glacier Point, Yosemite, No. 69,&#8221; 1865\u201366, photograph, mammoth albumen print from wet collodion negative. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Carleton Watkins\u2019s early 1860s photos of Yosemite Falls, Haas says, \u201cconvinced [President Abraham] Lincoln and Congress, at the height of the Civil War, to set aside Yosemite as protected land\u201d in 1864. But Timothy O\u2019Sullivan was the official photographer of the 1873 Wheeler Survey of Arizona and New Mexico territories by the U.S. War Department \u201cto assist in [military] operations against the tribes living there,\u201d the museum reports. Eadweard Muybridge photographed a river snaking through Yosemite\u2019s sharp rocky peaks and deep valley in 1867 and 1872. George Fiske photographed people at Yosemite.<\/p>\n<figure id=\"attachment_10300\" aria-describedby=\"caption-attachment-10300\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10300\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls-1024x787.jpg\" alt=\"Frank Jay Haynes &quot;Grand Canyon of Yellowstone and Falls,&quot; about 1887, photograph, albumen print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"692\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls-1024x787.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls-300x231.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls-768x590.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls-370x284.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picHaynes12_grand_canyon_of_yellowstone_and_falls.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10300\" class=\"wp-caption-text\">Frank Jay Haynes &#8220;Grand Canyon of Yellowstone and Falls,&#8221; about 1887, photograph, albumen print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Adams studied the photos of these predecessors (one photo here seems a copy or quotation of O\u2019Sullivan) and was connected to this pioneer legacy through his own family. As Mary Street Alinder, Adams\u2019s assistant from 1979 until his death in 1984, wrote in her 1996 biography \u201cAnsel Adams,\u201d his grandfather left Maine for San Francisco in 1850, attempting to strike it rich in the Gold Rush. He was unsuccessful with that, but launched a wholesale grocery in Sacramento that supplied other would-be miners. He sold that, returned to Maine to get hitched to a wealthy young widow, settled in San Francisco and built a lumber business chopping down virgin redwood tracts. He owned land, mills, a fleet of ships, and built a major San Francisco streetcar line.<\/p>\n<figure id=\"attachment_10299\" aria-describedby=\"caption-attachment-10299\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10299\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm-1024x803.jpg\" alt=\"Ansel Adams, &quot;Clearing Winter Storm, Yosemite National Park,&quot; about 1937, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"706\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm-1024x803.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm-300x235.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm-768x603.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm-370x290.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams11_clearing_winter_storm.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10299\" class=\"wp-caption-text\">Ansel Adams, &#8220;Clearing Winter Storm, Yosemite National Park,&#8221; about 1937, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Ansel Adams (1902-1984) made his first visit to Yosemite in June 1916. He had become entranced with Yosemite and the Sierras from seeing a Southern Pacific Railroad display at San Francisco\u2019s Panama Pacific International Exhibition in 1915 and reading up on the place. The 14-year-old traveled two days by train, about 175 miles due east from his family\u2019s home in San Francisco to Yosemite. To record the trip, his family gave him his first camera.<\/p>\n<p>Adams returned to Yosemite in 1917, 1918 and 1919. During the winter of 1917 to 1918, he worked for a San Francisco photo finisher and began to learn darkroom techniques. He photographed during all his visits to Yosemite, developing a Pictorialist style\u2014grand, often mythological and artfully blurred photography that aimed to attract esteem for the medium by resembling Western painting.<\/p>\n<p>Adams\u2019s 1927 photo of Half Dome showed him in transition. It was the standout among the portfolio he issued that year as \u201cParmelian Prints of the High Sierras.\u201d In these early photos, his film bleached out the skies. But he soon switched to more sensitive films that allowed him to capture the drama of clouds, so that \u201cthe sky becomes a more and more important player,\u201d Haas says.<\/p>\n<p>You can see this in his 1932 photo \u201cThe Golden Gate Before the Bridge,\u201d depicting the highlands where the bay meets the Pacific Ocean before construction of the suspension bridge began the following year. Adams situates the horizon low in the photo, devoting two-thirds to billowing clouds. \u201cWhat he\u2019s doing here is reveling in what his large camera can capture,\u201d Haas says.<\/p>\n<figure id=\"attachment_10301\" aria-describedby=\"caption-attachment-10301\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10301\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico-1024x748.jpg\" alt=\"Ansel Adams, &quot;Moonrise, Hernandez, New Mexico,&quot; 1941, print date: 1965\u201375, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"657\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico-1024x748.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico-300x219.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico-768x561.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico-370x270.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams14_moonrise_hernandez_new_mexico.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10301\" class=\"wp-caption-text\">Ansel Adams, &#8220;Moonrise, Hernandez, New Mexico,&#8221; 1941, print date: 1965\u201375, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>In 1932, Adams exhibited the photo at San Francisco&#8217;s\u00a0De Young Museum as part of a show of the Bay Area camera club known as Group f.64 that had formed that year. Members included Adams, Imogen Cunningham, Edward Weston, Sonya Noskowiak, Willard Van Dyke, and John Paul Edwards. The group\u2019s name referred to f\/64, the smallest aperture in large-format view cameras then, which put as much of the image as possible in crisp focus. They rejected the artfully blurred, musty, mystical trappings of Pictorialism, in favor of a modernist formalism that emphasized the technical distinctiveness of photography.<\/p>\n<p>\u201cThe group will show no work at any time that does not conform its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea derivative of any other art form,\u201d read a group statement shown on the walls of the De Young during the exhibition.<\/p>\n<p>Weston and Adams, in particular, were proponents of an apolitical modernism fueled by beautiful formal technique. \u201cPhotography, when it tells the truth, is magnificent, but it can be twisted, deformed, restricted, and compromised more than any other art. Because what is before the lens always has the illusion of reality; but what is selected and put before the lens can be as false as any totalitarian lie,\u201d Adams wrote his friend, the great San Francisco social documentary photographer Dorotha Lange, in 1962. \u201c\u2026I resent being manipulated into a politico-social formula of thought and existence. I resent the implications that unless photography has a politico-social function it is not of value to people at large.\u201d He argued for beauty in photography: \u201cI am not afraid of beauty, of poetry, of sentiment. I think it just as important to bring to people evidence of the beauty of the world of nature and of man as it is to give them a document of ugliness, squalor and despair.\u201d<\/p>\n<figure id=\"attachment_10303\" aria-describedby=\"caption-attachment-10303\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10303\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california-1024x846.jpg\" alt=\"Ansel Adams, &quot;Cemetery Statue and Oil Derricks, Long Beach, California,&quot; 1939, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"744\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california-1024x846.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california-300x248.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california-768x635.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california-370x306.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams16_cemetery_statue_and_oil_derricks_long_beach_california.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10303\" class=\"wp-caption-text\">Ansel Adams, &#8220;Cemetery Statue and Oil Derricks, Long Beach, California,&#8221; 1939, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>\u201cAnsel Adams in Our Time\u201d reminds that Adams photographed urban detritus, documented Indigenous peoples, the tangle of a highway interchange. But what we come for are his glorious photos of seemingly untouched western American landscapes.<\/p>\n<p>Adams returned again and again to Yosemite to photograph its forests and rivers and peaks in all seasons and all moods. Adams set out in the 1940s to cross the country photographing the National Parks\u2014at first with federal funding and, after World War II dried that money up, supported by a 1946 Guggenheim grant. The MFA features his ravishing photos of Yellowstone\u2019s Old Faithful geyser, the Grand Tetons\u2019 Snake River, Pueblo dwellings at Colorado\u2019s Mesa Verde National Park, ferns in Hawaii, the Grand Canyon, Alaska\u2019s Mount McKinley, an autumn forest at Tennessee\u2019s Great Smoky Mountains National Park. He published the book \u201cMy Camera in the National Parks\u201d in 1950.<\/p>\n<p>\u201cNo artist has pictured the magnificence of the western states more eloquently,\u201d Time magazine declared in 1951.<\/p>\n<figure id=\"attachment_10305\" aria-describedby=\"caption-attachment-10305\" style=\"width: 802px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10305\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow-802x1024.jpg\" alt=\"Ansel Adams, &quot;Pine Forest in Snow, Yosemite National Park,&quot; about 1932, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"802\" height=\"1024\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow-802x1024.jpg 802w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow-235x300.jpg 235w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow-768x981.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow-370x472.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams10_pine_forest_in_snow.jpg 1170w\" sizes=\"(max-width: 802px) 100vw, 802px\" \/><\/a><figcaption id=\"caption-attachment-10305\" class=\"wp-caption-text\">Ansel Adams, &#8220;Pine Forest in Snow, Yosemite National Park,&#8221; about 1932, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Looking at Adams&#8217;s photo \u201cPine Forest in the Snow, Yosemite National Park\u201d from around 1932, Haas says, \u201cAdams had this incredible delicate touch. He did those symphonic views, but he also did these close views.\u201d<\/p>\n<p>Part of Adams success was that he was one of the best connected artists of his time\u2014from the pioneering Bay Area photographers to Alfred Stieglitz, the photographer who ran a history-defining gallery in New York. (The exhibition\u2019s effort to put Adams in context skips over his contemporaries.) When New York\u2019s Museum of Modern Art launched a department of photography Adams was named vice-chair of the department advisory board and helped the department present its first show in December 1940.<\/p>\n<p>\u201cIn the 1940s, he\u2019s already a very successful photographer, but he still has to make a living,\u201d Haas says. Ansel and Virginia Adams published their \u201cIllustrated Guide to Yosemite Valley\u201d in 1940, updating and republishing it through 1963. Though Adams is best known for his images of the wilds of the American West, the exhibition includes a photo he took on a commission to document the U.S. Potash Company mine in 1941, run by his friend Horace Albright, former director of the National Park Service. Adams\u2019s photos were featured in advertisements from Kodak promoting photography and tourism. His photos appeared in annual reports from Bank of America, Pacific Gas and Electric, Polaroid Corporation and the Curry Company, which ran concessions at Yosemite.<\/p>\n<p>Though Adams generally objected to making socially-engaged art, he used his photos and his esteem as a photographer to promote environmental causes. In January 1936, the Sierra Club sent Adams to congressional hearings in Washington, D.C., to prevent Los Angeles from turning Kings Canyon into a drinking water reservoir. Adams subsequently sent a copy of his 1938 book \u201cSierra Nevada, the John Muir Trail\u201d to U.S. Secretary of the Interior Harold Ickes, who presented it to President Franklin Roosevelt, who made the area a national park in 1940.<\/p>\n<figure id=\"attachment_10320\" aria-describedby=\"caption-attachment-10320\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10320\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons-1024x785.jpg\" alt=\"Ansel Adams, &quot;The Tetons and Snake River, Grand Teton National Park, Wyoming,&quot; 1942, print date: 1950\u201360, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"690\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons-1024x785.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons-300x230.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons-768x589.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons-370x284.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picAdams01_snake_river_grand_tetons.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10320\" class=\"wp-caption-text\">Ansel Adams, &#8220;The Tetons and Snake River, Grand Teton National Park, Wyoming,&#8221; 1942, print date: 1950\u201360, photograph, gelatin silver print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>When an old Sierra Club friend, Ralph Merritt, became director of the Manzanar Relocation Camp for Japanese-Americans imprisoned during World War II, he invited Adams to come document the facility in October 1943 and again in spring 1944. The MFA features Adams\u2019s 1944 photo \u201cMount Williamson from Manzanar, Sierra Nevada, California,\u201d looking across a boulder field to sunlight glowing on the mountain.<\/p>\n<p>\u201cThe reason he was in these places, this otherwise arid and empty landscapes, was this was during World War II and he was documenting the Japanese internment camp,\u201d Haas says. Adams published a book \u201cBorn Free and Equal: The Story of Loyal Japanese-Americans\u201d of his Manzanar work in late 1944. The photos were show at New York\u2019s Museum of Modern Art in 1944\u2014with some of Adams\u2019s descriptions rewritten by the museum because they were deemed too political, namely too pro-Japanese-American.<\/p>\n<p>Adams\u2019s activism continued to the very end of his life. In 1983, Adams was invited to meet with President Ronald Reagan in the White House. Despite Adams\u2019s long opposition to Reagan, he went because he felt it was a chance to raise environmental concerns with a top leader who \u201chad not met with even one major environmental leader\u201d since becoming president, Adams wrote in his 1985 biography. Afterward, Adams felt the conversation ended up being fruitless.<\/p>\n<figure id=\"attachment_10306\" aria-describedby=\"caption-attachment-10306\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10306\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground-1024x768.jpg\" alt=\"Abelardo Morell &quot;Tent\u2010Camera Image on Ground: View of Mount Moran and the Snake River from Oxbow Bend, Grand Teton National Park, Wyoming,&quot; 2011, photograph, inkjet print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"675\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground-1024x768.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground-300x225.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground-768x576.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground-370x277.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMorell02_tent_camera_image_on_ground.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10306\" class=\"wp-caption-text\">Abelardo Morell &#8220;Tent\u2010Camera Image on Ground: View of Mount Moran and the Snake River from Oxbow Bend, Grand Teton National Park, Wyoming,&#8221; 2011, photograph, inkjet print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p><strong>\u2018Make-believe\u2019<\/strong><\/p>\n<p>\u201cAs long as people have been in the American West, they have found its barren desert landscapes to be ideal for dumping garbage and forgetting,\u201d David Emitt Adams\u2014who prints his landscape photos on old, rusty tin cans, metal barrels and fuel cans\u2014has said. \u201cI was born in Yuma, Arizona, in 1980 and I have never known this landscape without the forgotten debris of urban sprawl. Today, the notion of land untouched by the hand of man is so foreign it might as well be make-believe.\u201d<\/p>\n<p>Adams might have said nearly the same thing. In his posthumous 1985 autobiography, he complained of people exploiting the resources of the earth \u201cat the expense of the future.\u201d He was an environmentalist and an activist, and he used his photos to promote his causes. But he differed from the contemporary photographers Haas pairs him with in \u201cAnsel Adams in Our Time\u201d because he insisted that the photos themselves were not about causes, that they were about the grandeur of nature.<\/p>\n<p>In 1962, Adams wrote his friend Dorotha Lange, the great Depression documentary photographer, that \u201cYou happen to be one of the very few who has brought enough deeply human emotion into your work to make it bearable for me. I wish you would try to think of yourself as a fine artist\u2014which you are; that is a damn sight more important to the world than being merely an extension of a sociological movement.\u201d<\/p>\n<p>Adams was also a technician, publishing several books about his process, but insisted it was all in the service of emotion. In Adams\u2019s black and white photos the American West is an awesome, pristine, undeveloped Eden, empty of people and even animals. He wasn\u2019t averse to erasing a road from a photo if it marred the natural look he was aiming for.<\/p>\n<p>\u201cAnsel Adams in Our Time\u201d is a gorgeous survey of Adams\u2019s work, featuring some of the greatest and most beloved photos of this country. But the pictures included by Emitt and other living photographers serve as a rebuttal.<\/p>\n<p>These photographers following in Adams\u2019s footsteps insist on pointing out Adams\u2019s artifice, on pointing out what Adams left out in his mythmaking. They want to make photos reckoning with the American West as it actually is\u2014teeming with people and polluting industry and government installations. They want to make photos that are persuasive photos, even activist photos addressing environmental and social ills. They want to make photos that foreground their techniques.<\/p>\n<p>On the formalist end, \u201cAnsel Adams in Our Time\u201d offers Matthew Brandt\u2019s 2009 screenprints of Yosemite rendered in mole sauce, ketchup and mustard. Chris McCaw\u2019s 2013 \u201cSunburned GSP#683 (San Francisco Bay, Sunrise in 12 Negatives)\u201d feature just a circle burned into each print by the fire of the rising sun. Haas says it\u2019s an exemplar of photographers \u201cnow giving themselves over to chance and serendipity.\u201d<\/p>\n<p>Abelardo Morell, who long taught at Massachusetts College of Art and Design, records Yellowstone\u2019s Old Faithful geyser and the Grand Tetons\u2019 Snake River projected onto the ground via a camera obscura he set up inside a tent at the sites. \u201cWhat you\u2019re seeing here are the pine needles and the parking lot,\u201d Haas says. \u201cThey become very painterly and very mysterious.\u201d<\/p>\n<figure id=\"attachment_10302\" aria-describedby=\"caption-attachment-10302\" style=\"width: 683px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10302\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley-683x1024.jpg\" alt=\"Catherine Opie &quot;Untitled #1 (Yosemite Valley),&quot; 2015, photograph, pigment print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"683\" height=\"1024\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley-683x1024.jpg 683w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley-200x300.jpg 200w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley-768x1152.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley-370x555.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picOpie15_untitled_1_yosemite_valley.jpg 1170w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/a><figcaption id=\"caption-attachment-10302\" class=\"wp-caption-text\">Catherine Opie &#8220;Untitled #1 (Yosemite Valley),&#8221; 2015, photograph, pigment print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>In Catherine Opie\u2019s very blurry 2015 photos of Yosemite, Haas says the photographer is asserting that \u201cas a woman, as a feminist, as a lesbian, she has a right to this landscape. \u2026 She\u2019s taken what he\u2019s [Adams] has done in sharp black and white and turned it into soft and luscious and melting color.\u201d<\/p>\n<p>And then there\u2019s Mark Klett and Byron Wolfe\u2019s 2003 \u201cPanorama showing Carleton Watkins\u2019s camera position for Yosemite Falls and Merced River.\u201d They\u2019re historian stalker copycats, endeavoring to locate the exact place where the earlier photographers stood and to rephotograph the scene from that spot. In this case, they produced an array of 15 photos showing a rafting group paddling on the left and tourists on the right hiking dirt trails through tall grass toward the falls. Watkins\u2019s view is pasted in the middle. It aims to reveal the careful framing of the originals, Haas says, \u201creminding us just how artificial a concept photography is.\u201d<\/p>\n<p>Ansel Adams\u2019s \u201cdepopulated scenes suggest that the landscape does best without our presence, and that wilderness is an entity defined by our absence,\u201d Klett has said. \u201cHowever, anyone who has visited the side of one of Adams\u2019s photographs knows that the romance of his landscapes is often best experienced in the photographs themselves. The reality of the place is quite different. \u2026 The natural beauty of the land is there to be seen, but you will not see it alone.\u201d<\/p>\n<figure id=\"attachment_10307\" aria-describedby=\"caption-attachment-10307\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10307\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone-1024x819.jpg\" alt=\"Trevor Paglen &quot;Untitled (Reaper Drone),&quot; 2015, photograph, pigment print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"720\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone-1024x819.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone-300x240.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone-768x614.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone-370x296.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picPlagen03_untitled_reaper_drone.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10307\" class=\"wp-caption-text\">Trevor Paglen &#8220;Untitled (Reaper Drone),&#8221; 2015, photograph, pigment print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Haas pairs Adams\u2019s photos from the World War II Japanese internment camp at Manzanar with Somerville photographer Stephen Tourlentes\u2019s 2000 photo of a prison glowing off in the distance, between two hills in a snowy Wyoming desert and Colorado. \u201cWe incarcerate more people than practically any country in the world,\u201d Tourlentes says. \u201cI hope that these photographs enhance conversation about something just beyond the image itself.\u201d<\/p>\n<p>In Trevor Paglen\u2019s 2000s photos of a reaper drone as a speck among sunset red clouds and a surveillance satellite over the Sierra Nevada Mountains, Haas says Plagen investigates \u201cthe unseen areas where our government is operating\u201d<\/p>\n<figure id=\"attachment_10318\" aria-describedby=\"caption-attachment-10318\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10318\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed-1024x810.jpg\" alt=\" Laura McPhee &quot;Midsummer (Lupine and Fireweed),&quot; 2008, photograph, archival pigment print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"712\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed-1024x810.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed-300x237.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed-768x608.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed-370x293.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picMcPhee07_midsummer_lupine_and_fireweed.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10318\" class=\"wp-caption-text\">Laura McPhee &#8220;Midsummer (Lupine and Fireweed),&#8221; 2008, photograph, archival pigment print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Mark Ruwedel\u2019s 1990 photos reveal \u201ccuts through the landscape \u2026 that were made for the transcontinental railroad,\u201d Haas says. Laura McPhee\u2019s 2008 photos show new growth in a charred Idaho forest three years after a fire. \u201cIt has to do with paradox in the landscape and land management,\u201d the Brookline photographer says. \u201cIt\u2019s about unintended consequences.\u201d Years of forestry management suppressing fires has left \u201cso much fuel on the ground that it only takes a few sparks\u201d to set off a conflagration, she says. \u201cThis will happen more and more.\u201d<\/p>\n<figure id=\"attachment_10304\" aria-describedby=\"caption-attachment-10304\" style=\"width: 900px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10304\" src=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california-1024x817.jpg\" alt=\"Mitch Epstein, &quot;Altamont Pass Wind Farm, California,&quot; 2007, photograph, chromogenic print. (Courtesy, Museum of Fine Arts, Boston)\" width=\"900\" height=\"718\" srcset=\"https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california-1024x817.jpg 1024w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california-300x239.jpg 300w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california-768x613.jpg 768w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california-370x295.jpg 370w, https:\/\/gregcookland.com\/wonderland\/wp-content\/uploads\/2019\/02\/picEpstein17_altamont_pass_wind_farm_california.jpg 1170w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><figcaption id=\"caption-attachment-10304\" class=\"wp-caption-text\">Mitch Epstein, &#8220;Altamont Pass Wind Farm, California,&#8221; 2007, photograph, chromogenic print. (Courtesy, Museum of Fine Arts, Boston)<\/figcaption><\/figure>\n<p>Mitch Epstein\u2019s 2007 photos show oil drilling, wind turbines and a golf course in California. Lucas Foglia\u2019s 2016 photo depicts \u201cBeach Restoration after El Nino waves.\u201d Haas says Foglia believes \u201cwe are complicit, we are the reason so much of this is happening. We can shore up the beaches after El Nino waves for only so long.\u201d<\/p>\n<hr \/>\n<p><em>If this is the kind of coverage of arts, cultures and activisms you appreciate, please support Wonderland by <a href=\"https:\/\/www.patreon.com\/wonderlandlandfanclub\" target=\"_blank\" rel=\"noopener\">contributing to Wonderland on Patreon<\/a>. And <a href=\"https:\/\/gregcookland.com\/wonderland\/subscribe\/\" target=\"_blank\" rel=\"noopener\">sign up for our free, weekly newsletter<\/a> so that you don&#8217;t miss any of our reporting.<\/em><\/p>\n<hr \/>\n","protected":false},"excerpt":{"rendered":"<p>In April 1927, 25-year-old photographer Ansel Adams and a handful of friends climbed toward Half Dome at Yosemite National Park in California. The iconic granite peak, round except for one sheer vertical face, rises nearly 5,000 feet above the valley floor. They lugged Adams\u2019s bulky view camera, wooden tripod and 12 glass-plate negatives up a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":10298,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"_links":{"self":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/10295"}],"collection":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/comments?post=10295"}],"version-history":[{"count":20,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/10295\/revisions"}],"predecessor-version":[{"id":10332,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/10295\/revisions\/10332"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/media\/10298"}],"wp:attachment":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/media?parent=10295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/categories?post=10295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/tags?post=10295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}