Name: Ansel Adams in the National Parks
Brand: Ansel Adams
SKU: 9780316078467
Price: 50 USD
Availability: InStock
ISBN: 9780316078467

By Ansel Adams

Edited by Andrea G. Stillman

On Sale: Oct 18, 2010
Page Count: 344 pages
Publisher: Ansel Adams
ISBN-13: 9780316078467

$50.00

$63.00 CAD

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Hardcover

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Hardcover $50.00 $63.00 CAD

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The most comprehensive collection of Ansel Adams’s photographs of America’s national parks and wilderness areas, with more than 200 photographs — many rarely seen and some never before published.

For many people, Yosemite, Yellowstone, Glacier National Park, and other iconic American wildlands exist in the mind’s eye as Ansel Adams photographs. The legendary photographer explored more than forty national parks in his lifetime, producing some of the most indelible images of the natural world ever made. One of the twentieth century’s most ardent champions of the park and wilderness systems, Adams also helped preserve additional natural areas and protect existing ones through his photographs, essays, and letter-writing campaigns.

Edited and with commentary by Andrea G. Stillman, the foremost expert on Adams’s work, this landmark publication includes quotations by Adams on the making of numerous photographs and essays by Wallace Stegner, William A. Turnage of The Ansel Adams Trust, and journalist and critic Richard B. Woodward. This is a must-own for Ansel Adams fans and all those who, like Adams, treasure America’s wilderness.

Genre:

Ansel Adams (1902 - 1984) was the most honored American photographer of the twentieth century. Through the exhibition and publication of his work, his writings, and his leadership in the Sierra Club, Adams was also a prescient and highly effective voice in the fight to preserve America's remaining wilderness.

Andrea G. Stillman, who worked with Adams in the 1970s, has edited several books of his photographs and writings, including Letters And Images: 1916-1984, Our National Parks, and Ansel Adams in Color.

"A stunning visual journey through America's national parks and wildlands."
Good Morning America

Ansel Adams

About the Author

In a career that spanned six decades, Ansel Adams was at once America’s foremost landscape photographer and one of its most respected environmentalists.

In Ansel Adams at 100, John Szarkowski notes that Adams’s role in the history of photography goes beyond his achievements as one of the great photographers of the twentieth century. As a leader in the study and appreciation of photography as an art, he played a major role in establishing the first department of photography in an art museum, at The Museum of Modern Art, New York (the same department that Szarkowski led from 1962 to 1991). Moreover, as a tireless advocate for improving the reproduction of photographs in books, Adams “badgered and cajoled his printers and platemakers” till they had “achieved in ink an unprecedented degree of fidelity to the chemical print.”

Although he devoted a lifetime to the cause of wilderness preservation, “Adams did not photograph the landscape as a matter of social service, but as a form of private worship. It was his own soul that he was trying to save,” Szarkowski writes, adding that “Ansel Adams’s great work was done under the stimulus of a profound and mystical experience of the natural world.” Szarkowski dates that experience to the early 1920s and a camping trip in the High Sierra. As Adams later recalled, “I was suddenly arrested in the long crunching path up the ridge by an exceedingly pointed awareness of the light…. I saw more clearly than I have ever seen before or since the minute detail of the grasses, the clusters of sand shifting in the wind, the small flotsam of the forest, the motion of the high clouds streaming above the peaks.”

Commenting on this moment of vision, Szarkowski writes, “One might guess that Adams spent the next quarter century trying to make a photograph that would give objective form to the sense of ineffable knowledge that on occasion, in his youth, inhabited him in the high mountains. Yosemite and the Sierra gave him not only his principal subject, but also the experience that provided the basis for a useful artistic idea: ‘The silver light turned every blade of grass and every particle of sand into a luminous metallic splendor.’”

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