Professional Documents
Culture Documents
OF ANSEL ADAMS
Introduction by John S^rkowski
^^^igUH^^"
New
Design
Laser-Scanned Separations
New
Printing
2012
http://archive.org/details/portfoliosofanseOOadann
THE PORTFOLIOS
OF ANSEL ADAMS
THE PORTFOLIOS
OF ANSEL ADAMS
Introduction by John S^rkowski
LITTLE,
BOSTON
International Standard
International Standard
Book Number:
Book Number:
Number: 77-71628
made
Grateful acknowledgment
is
III;
to
0-8212-1122-6 (paperback)
to the Sierra
Club
Sierra
Club
Press,
for
for
permis-
and VI.
First printing
Hard
New
are published
have been
in 1981,
made of
all
new
Paper
is
by
Little,
Portfolios of Ansel
pages.
set
Brown
Type
Little,
Limited.
Adams published
by
simultaneously in Canada by
DEKR Corporation
Centura Gloss
PREFACE
am more
new
issue
of The
was prepared
Portfolios
with improved design and printing. The typography from the original portfohos has been faithfully reproduced and the most advanced printing technology, including laser-scanned, duotone separations, has been used. I am also
pleased that the book will now appear in paperback as well as hard cover.
My
selection of
stimulated
me
appropriate to express
my
My
made from
memory.
was dedicated
a
to his
his
felt it
remarkable
memory.
have worked
much
in
the
and published material; the later portfolios especially reveal some fresh facets.
However, I have telt no reason for drastic change, and I have always believed
it questionable for artists to arbitrarily change their styles
simply to be
different or in step with concurrent movements and trends of creative thought.
I am aware that
may suddenly change my approach
even my medium!
at any time, but such change must come from a deep conviction rather
than an observance of popular fashion. The seven portfolios are, in effect, an
excellent cross section of my work since the days of Group f/64.
have
intentionally disregarded the chronological sequence of photographs within
the portfolios.
I
to the
my
of the original text inserts for Portfolios I, II, and III; to Lawton Kennedy of
San Francisco for the Portfolio IV text; and to Adrian Wilson and George
Waters of San Francisco for the texts of Portfolios V, VI, and VII.
I
wish particularly to thank Robert Feldman and his associates (Parasol
Press, Ltd.) for his warm cooperation in granting reproduction rights tor
Portfohos V, VI, and VII.
wish also to thank the United States Department of the Interior and the
National Park Service, and the John Simon Guggenheim Memorial Foundation
and its former secretary-general, Henry Allen Moe, for assistance in the creation of Portfolio II; Pirkle Jones and Don Worth for their aid in production
of Portfolios II and III, respectively; Dorothy Varian, Dr. and Mrs. Edward
Ginzton, Mr. and Mrs. Eric Varian, Nancy Newhall, and Liliane De Cock
for their assistance with Portfolio IV. With Portfolios V, VI, and VII warm
appreciation is due L. M. Rosenthal and Company, New York (V) and to
Ted Orland, Phyliss Donohue, James Taylor, Alan Ross, Norman Locks,
Andrea Gray, and Bill Turnage. Special thanks are due Bob Feldman for
invaluable aid in the production of Portfolio VII. I also express thanks to Mary
Alinder for her assistance with the present issue of the book.
It may be of interest that Portfolio I was privately printed in an edition
ot 75 copies, lo of which were made especially for E. Wcyhe of New York
City; Portfolio II was a privately printed edition of lOO numbered copies and
5 presentation copies. Portfolio III was limited to 208 copies, of which 200
were for sale; Portfolio IV was limited to 260 copies, of which 250 were for
sale. Portfolios V and VI were each printed in an edition of iio copies, of
which copies for sale were numbered
through 100, and 10 copies were
lettered A through J; Portfolio VII was limited to
15 copies, of which copies
for sale were numbered
through 100, and 15 copies were lettered A through
O. Each copy of Portfolio VII contained one original Polaroid PolaPan Type
52 Land photograph selected from 57 different images. The mounts of Portfolios I through IV were 14 X 18 inches; those for Portfolios V through VII
were 23 x 29 inches.
In retrospect
may wistfully question the inclusion (or omission) of
certain images in the original portfolios. The selections were logically and
aesthetically agreeable at the time. With these ninety images, comprising in
full my seven major portfolios, I must stand.
I
Carmel, California
Ansel
January igSi
VI
Adams
INTRODUCTION
on nothing.
The spectrum of Adams' admirers has extended from the
great Altred
who
formulae.
The
reasons for this almost catholic acclaim are not completely clear, but
Adams
has
some
through
we
also
his pictures
tographer. Like
it
is
made many
all
good
artists
it
is
true that he
we are primarily
memory of what
thankful to
it
was
Adams
like to
our
own
gratitude, and
think
stir
our
handsomely composed,
far to
note that
Adams
These
our prerogative
It
rest
once knew.
Adams would
has
motherhood,
many
is
has
made
elegant,
of magnificent nat-
these many need not wonder what the precise difference is between the best
of Adams' pictures and uncounted other neat, clean, and dramatic photographs
of the glorious American West.
The difference presumably depends from the fact that Adams understands
better the character and significance of his subject matter, and thus is especially
vii
moments
that are
with the description of objects the rocks, trees, and water that are the nominal parts of his pictures
but with the description of the light that they
instructive to
Adams
that
The landscape
ot picture.
weighty, and
in
fleshily sensuous, hi
who found
still
disembodied images concerned not with the corpus of things but with
From
Adams' problem
is
more
difficult
than
as
it
does
less
in
such
spot
at
such
Adams would
description,
which
moment.
comes down to a question of good
but which has caused a good deal of
it
doubtless true
mountain but
concept of one
way
in
which
is
into a photograph.
The
particular variety
of precision which
graphic but tonal.
of an
diagram of the composition of
is
a first-rate
is
Vlll
not
way
much
interested
ot relating the
discrete parts
of
a picture in
mechanical notions.
unified
by the
He
has what
is
him
for
inertia,
roles.
The
skill
tools.
If
it
is
true that
a better
are
clear
Adams' work
it
is
is
him
which allows the most exact control over these relationships is not an exercise
in exquisite retinement, but the ultimate reality and central discipline ot his
art. Adams' best prints are no better than his best seeing requires.
For the same reason necessity Adams has tor torty years demanded,
promoted, and generally received much better photomechanical reproduction
for his many books than most photographers would have considered necessary, and often better than the printers themselves knew they were capable ot.
The standard of photomechanical reproduction that is satisfactory for most
luxury picture books is not satisfactory for Adams' work, for such reproduc-
tion edits out the subtle shadings ot tonality that can ciescribe the character ot
printing can
not
in
moment.
On
stand
virtually as a surrogate
At this late date we must remind ourselves that photogaphy, during most
of its first century, was known primarily through the medium of original
photographic prints. Until World War I photographs were manufactured in
significant quantities, as bread and shoes were, even in modest towns, in order
to publish the community's scenic wonders, industrial achievements, and
notable citizens. Only in the past fifty years have professional photographers
come to assume that they were to make their livings by selling reproduction
rights rather than actual photographs.
The new system was easier, often more profitable, and in some respects
more satisfying. The photographer now needed to make only one print from
his negative, for delivery to the photoengraver, who would begin the process
of thousands or millions, through its publication 111 periodicals. This procedure had only two disadvantages. The photographer now a member of a committee rather than an independent publisher
surrendered much of his control over the content and the quality of
his work.
ot multiplying
it
for an audience
IX
Under
the
now
who
continued
were
perfection ot
This
to
is
insignificant in
a frigid
pond
make was
in the
High
Sierra.
limited, so limited
tact that
it
lithographic stone.
The
work
is
done.
succinctly
When
by the
fictitious fashion
how
small the
demand
is
who
said,
"You would
be amazed
at
possessed by
is
it
is
them
most
serious, personal,
On
who
support of an angel
can
work
now
is
that has
won
persuacied that
it
should have
a substantial
won
the
audience)
stand almost as
a fully
Not
quite,
but almost.
tor picture-making.
Nevertheless,
cifics.
artists,
The photographer
must depend on
unlike philosophers, must deal with physical speespecially, being least able
of
all
artists to
achieve
must be inferred
from
One family picnic on the banks of the Marne, clearly seen,
may stand for civilization; one unfolding fern, for freedom.
If this suggests the game that photographers play, it should be added that
the game can be played well only in an environment in which the photographer
is knowledgeable and at home, and in which the subtle distinctions of meaning
synthesis,
its
trivial data.
even more
committed to the ideal of making one pertect photograph than he is to the
goal of expressing the beauty and meaning of the wild landscape. But if he
does not love and wish to understand the wild landscape, where will he find
the energy and tenacity needed to see his subject, coldly and clearly, as a
In the specific case ot Ansel
picture?
XI
guess that he
is
Ansel
million pink-cheeked Boy Scouts, greening teenage backpackers, and middleaged sightseers might, with the best of intentions, destroy a wilderness as
surely as the most rapacious ot lumbermen, who did his damage quickly and
left the land to recover if it could.
It has developed, in other words, that to photograph beautifully a choice
vestigial remnant ot natural landscape is not necessarily to do a great favor to
its future. This problem is now understood, intuitively or otherwise, by many
younger photographers of talent, who tend to make landscapes of motifs that
have already been fully exploited and that have therefore nowhere to go but
up. It is difficult today for an ambitious young photographer to photograph
a pristine snowcapped mountain without including the parking lot in the
foreground as a selt-protecting note ot irony.
In these terms Adams' pictures are perhaps anachronisms. They are perhaps the last contldent and deeply felt pictures of their tradition. It is possible
that Adams himself has come to sense this. The best of his later pictures have
about them a nervous intensity that is almost shrill, a Bernini-like anxiety, the
lost.
John S^arkou'ski
xn
PORTFOLIO ONE
Twelve Photographic
Prints
by
ANSEL ADAMS
SAN FRANCISCO
1948
To photograph
the surfaces
and record
manity which
is
truthfully^
and
live
of
and hu-
life.
And
life,
or
its
eternal evidence,
Some photographers
wood and
their
stone
it
is
everywhere.
spirit.
the affirmation
and upon
is
revelation.
to
true
them
is
an instru-
my
photographs are
and
moments of the
to the spirit
of Alfred
Stieglitz.
memory
1.
1948
2.
1946
3.
RAPIDS
4.
MORMON TEMPLE,
5.
1948
6.
1946
7.
1946
8.
1948
9.
1948
BELOW VERNAL
VALLEY
FALL, YOSEMITE
MANTI,
UTAH
19-*8
1948
10.
TRAILSIDE,
11.
1938
12.
1946
1948
PORTFOLIO ONE
Issued
10 copies
made
in
an edition of 75 copies
THIS
IS
Typography by
the
New
COPY NUMBER
Grabhorn
Press,
San Francisco
York City
and
1 1
8 X IC negatives were
All
SH
x -tH and
made on Panchromatic
lilm of
4x5 negatives.
Vi
rhe smaller negatives were made on Panchromatic lilm of \^ eston speed 100.
Negativesofl,2, 3, 4, 7, 9, and 12 were developed in Metol-sultite (Kodak
Negatives of 5, 8, and IC were developed
Ansco
47.
Negative of No.
D-2.3).
Kodak Durol.
1
was developed
pyrocatechin developer.
prints
.\ll
in
in
veloped
in Metol-Cilycin,
and
lightly
toned
in
Selenium.
The prints are dry-mounted: should any print become partially or entirely
unmounted, do not attempt
who
to
This portfolio
is
times
when
be separately disposed
12
all
of. .\nsel
.\dams reserves
all
Plate
Plate 2
Plate
Plate 4
Plate
Plate 6
Plate 7
Plate 8
>
Plate 9
>
Plate 10
Plate
Plate 12
PORTFOLIO
TWO
MONUMENTS
PHOTOGRAPHS BY
ANSEL ADAMS
SAN FRANCISCO
1950
FIRST
\^
ITH A AnGHT\'
SPIRIT.
LNFORMED
IN
\SITH A LU.MINOUS
IN
ME SO LONG AGO,
ALBERT BENDER
To
the LniteJ States Department of the Interior and the National Park Service, and to the
Moe,
made
e.xpress
my
photographer,
its
my warmest
The
And
to Pirkle Jones,
edition
is
limited to 100
numbered copies
copies.
COPY NUMBER
fine
2.
1949
3.
1941
4.
White House Ruin, morning. Canyon de Chelly National Monument, Arizona 1949
5.
From Hurricane
6.
Moth and stump, Interglacial Forest, Glacier Bay National Monument, Alaska 1949
7.
1944
8.
1943
9.
10. Rain,
1 1.
Mount
Park, Montana
1942
1948
Monument, California
1942
Dead
tree.
1949
1947
19^2
13.
1942
1-+.
The
1949
15.
Dawn, Autumn
Atlantic,
Great
Smoky Mountains
1948
NOTES
The contact
prints (Nos.
largements (Nos.
2. 3. 4. 7. 8, 9. 1
5, 6, 10. 13.
1-+.
15\ were
1 ,
2).
made on bromo-
The
is
delicate.
To
protect
them
al-
When
ionally supported
portfolio
is
handled.
DO NOT
mounting
process.
dr)'-
This portfolio
is
of a limited edition,
separately. Ansel
and the
Adams rescnes
all
It is
one
not available
reproduction rights to
This then
Here
is
is life,
Each
is
not for
its
soil,
own
sake,
in the sk\-
None has
to think
how
and how
is.
and sands.
WALT
\t"HlTMAN
Starting from
Paumanok
II
Plate
II
Plate 2
s\|jv/||.'||.M
I
-I
II /
Plate
II
Plate 4
II /
Plate
II
Plate 6
II
Plate 7
II
Plate 8
II
Plate 9
II
Plate 10
II
Plate
II
Plate 12
II
/Plate 13
11
Plate 14
II
Plate
PORTFOLIO THREE
YOSEMITE
VALLEY
Sixteen Original Photographic Prints
by
ANSEL ADAMS
SIERRA CLUB
:.
SAN FRANCISCO
i960
List of Prints
1.
2.
-MONOLITH,
3.
4.
5.
EL CAPm\N, SUNRISE
6.
7.
8.
9.
10.
13.
WLNTER STORM
DOG^^'OOD BLOSSOMS
11.
12.
BRANCHES IN SNOW
NEVADA
FALL, RAINBO\^'
15.
16.
H.ALF DOME,
THUNDER CLOUD
DEDICATED TO
YO SEMITE VALLEY,
wonder
to
and space.
cliff
know of no
spiritual
command
whispering of the
falling,
flowing waters. At
glitter of
sculpture, painting, or
forest,
first
may dominate;
then we perceive and respond to the delicate and persuasive complex of nature.
After the initial excitement we begin to sense the need to share the living realities of this
miraculous place.We
We may be
also
filled
much
superficialities.
we can
it
as a sanctuary
can define the moods of the wild places, the meaning of nature in domains
beyond those
of material use?
of experience
grasp
them only
moods and
qualities
we can
Perhaps age must remember the clear perceptions of youth and return to the
sensing of freshness, of strength, and of wonder; perhaps age needs to recall the
beginnings of comprehension of
to rekindle an apprecia-
man
nurtures his
remain young.
manv deep
Each
moment of wonder.
than
fort)-
The
mood and
re-
sponse; they do not attempt a complete pictorial exposition of Yosemite, nor are
own
is,
in a way, a personal
is
its
or historical judgment.
Both the grand and the intimate aspects of nature can be rcAealed
Both can
pressive photograph.
stir
in the ex-
surely help the spectator in his search for identification with the vast world of natural beauty
and wonder surrounding him and help him comprehend man's con-
ANSEL ADAM S
NOTES
The photographs herein cover a
Dome,
to
from 1926
veloped
Raio, Print 7), but they are not arranged in chronological order. For
priate
utes
^-ill
be of
amounts
diate
Ansco Super Hypan, and the cameras employed from standard view
cameras (8 x 10, 6^ x
8V4,
5x7 and
4 x
development
1,
Filters
edition
1, 2, 3, 6, 7, 9,
is
PLEASE NOTE
cess they should
This
to
5 min-
second
for
10 minutes
in
Kodak hypo-
Kodak Selenium
down on
plastic screens
copies of which
lo the
become detached to
in
mounts
whole or
indefinitelyin part
208
is
in water.
fnr 5 to
limited to
for several
were fixed
and stored
Illustration Board.
The
hypo solution)
prints
Kodak F-5
of
'ft'ith
4, 5, 8, 10,
interest.
to
in
remounting
in a
dry-mounting
Copy Number
to express
my
thanks to
this portfolio,
and
to all
wise counsel
and encouragement.
print
press.
Ill
Plate
Ill
Plate 2
Ill
Plate
III
Plate 4
%^\.
//
Ill
Plate
Ill /
Plate 6
Ill
Plate 7
HI
Plate 8
Ill
Plate 9
Ill /
Plate 10
Ill
Plate
II
Ill
Plate 12
Ill
Plate
Ill /
Plate 14
^:^
III /
Plate 15
Ill
Plate 16
WHAT
MAJESTIC
WORD
ANSEL ADAMS
PORTFOLIO FOUR
SIERRA CLUB
SAN FRANCISCO
1963
TEKLANIKA RIVER
park, alaska
II
LEAF,
IV
DUNES, OCEANO, CALIFORNIA
V
CATHEDRAL PEAK AND LAKE
YOSEMITE NATIONAL PARK, CALIFORNIA
VERNAL
FALLS,
VI
YOSEMITE VALLEY, CALIFORNIA
VII
CLEARING STORM
HILLS, CALIFORNIA
SONOMA COUNTY
VIII
X
NORTHERN CALIFORNIA COAST REDWOODS
XI
ORCHARD, EARLY SPRING
NEAR STANFORD UNIVERSITY, CALIFORNIA
XII
SIESTA LAKE
YOSEMITE NATIONAL PARK, CALIFORNIA
STORM
SURF.
XIII
TIMBER COVE, CALIFORNIA
XIV
TUOLUMNE MEADOWS
YOSEMITE NATIONAL PARK, CALIFORNIA
XV
SIERRA NEVADA, WINTER EVENING
FROM THE OWENS VALLEY, CALIFORNIA
The production
of a Portfolio of creative
The
the start to be an appropriate expression of tribute and affection for Russell Varian.
fact that original prints
more
no matter how
in a book,
fine they
might
be.
In addition,
the excerpts from his writings, and the poetry of his father, John O. Varian, accentuate the
photographs
for inclusion in
intellect
was not
a place-gatherer, or a
as
prey for
clouds, lights
lated in
him
To him
His
forests as a
grandeur of
spirit
moods
man
any
way
magnihcence
in this Portfolio
is
reality.
He
affair
vast
of great
and
of a
of
mind and
related in
some
some the
we
live,
trees,
accumu-
essences of light
way
to
and space
m others the substance of rock and wood, and the luminous insistence of growing
transformed into what the
spirit,
intention to present
natural world
through
And
may
Carmel, California
as
medium
through them
October i ig6}
the
to him.
artist calls
meaning
dominate;
Portfoho
this
of appropriate
mountain-winner, or did he
egotistical conquest.
number
of
hope
infinite. It
be re\'ealed at
of nature
Obviously
that
least
some
of noble
world
in
my
of the
suggested to
is
need
and
of the vast
men.
Ansel
Adams
ACKNOWLEDGMENTS
What Majestic Word
bj'
and
for her
monograph on
detail in
Ansel
texts
De Cock
Adams
advice and
Eric Varian of
made
in selecting
and design qualities of the production; Lawton Kennedy, Printer, San Francisco, for
the Varian
literary
his
devoted
Ansel
Adams
in the
arduous
prints.
wishes to express his deep appreciation for permissions to use the pictures which were
and
clients:
photographs
I, II,
III,
XII and
Fellowship, photograph VII courtesy of the Skirball Ranch, photograph VIII courtesy of Sunset Petro-
X courtesy of the Sierra Club and photograph XIII courtesy, Timber Cove
Properties.
This edition of
Portfolio Four
is
This
limited to
is
260
copies,
250
copy number
Adams, Carmel
sale.
IV
Plate
IV
Plate 2
IV
Plate
IV
Plate 4
IV
Plate
V
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IV
,"
jfl
"^^9
I^Hi
Plate 6
IV
Plate 7
IV
Plate 8
IV
Plate 9
IV
Plate 10
IV
Plate
IV /Plate
12
IV
Plate
IV
Plate 14
IV
Plate ij
ANSEL ADAMS
PORTFOLIO V
NEW YORK
INTRODUCTION
Man may
his
own
feci
world.
m chaos
And
is
sa\'
if
would turn
tins
histor\- of art,
that
statement
this
even
them form.
around and
whole
he
\'Ou.
Man
has discovered
literal
\'et
discovered.
endure, and
still
own
into \our
mystical or
mathematical world.
So
the space
limited onl\'
and grow
we must lue
b\'
ourselves,
in vision,
images
It is a
it
as
new
ourselves change
And
this
aspect of Ansel
And now he
them
fangs ot
looks
at
as
some of
if
in
any form,
seen
we
as
is
if
Alabama
stark black-and-white of
The
b\'
two
ima^^es such as
we
ethereal clouds in a
at
dusk.
The
Pctroi^l\-phs,
incised
on shadowed locks
festif\- to
Bhick Sun, an
imas;:;e
a total life
\\
oman behind
experience.
\W do
we ha\e
Man
in the
of the
not need to
is
of prnnitive
And
]o\'
Then
the
is
know
her name;
iis.
b\-
high
IS
Adams
sum up
sav.
He
certain qualities
He
this portfolio. It
is a
seems to him
clarified before.
once we open
about what
profound statement
is
clear within us
b\' a
great
photographer.
PORTFOLIO V
1.
Pinnacles,
Alabama
2.
Mudhills, Arizona
3.
Moon
Hills,
1947
Sierra
Nevada, California
Ca. i960
1959
5.
1959
6.
Petroglyphs,
7.
The
8.
Woman
9.
White Stump,
4.
10.
1945
Monument
Valley,
Utah
Owens
1958
Valley, California
Sierra
Nevada, California
West Virginia
1939
Ca. 1936
1939
Ca. 1944
Portfolio
V has
and
interest
of L.
M.
portfolio
Rosenthal
was made
& Co.,
through
sale.
J.
New
York.
toned
selenium.
Ansel
Adams
photographs
I,
z, j,
that photographs 6,
z^,
j,
before,
in this form
and
made of
without
the
No
comprises
the negatives.
Design of
the introductory
& Harris,
Inc.,
San Francisco.
Plate
Plate 2
Plate 3
Plate 4
Plate
Plate 6
Plate 7
Plate 8
Plate 9
/Plate 10
ANSEL ADAMS
PORTFOLIO VI
PORTFOLIO
VI
memory
GOTTARDO PIAZZONI
1872-1945
and
EDWARD WESTON
1886-1958
who
encouratjed
me
in so
it
through the
medium
me
to express
of photography.
and
of
FOREWORD
Ansel
Adams
is
\-ears
of
his \\ork.
Man\'
ol us have
flash
earlv
A moment
article,
"My
"Wh\-
later,
god,
didn't think
it
whole
mood and meaning of that time!" Or, of course, the opposite reaction,
"What trash!" and into the wastebasket or the fire. That latter decision
may
later
been
really
artists
seldom
really regret;
if
they have
lot of things
have "boiled the pot" and yet some aspect of social history
may
may
cling
to them; others are purely historical people, places, houses, views, situations,
ies
and
Of
and events that vanished long ago, and hence have value to
societies, as indubitable
documentation.
something achieved
at a greater
And
finally realized.
librar-
moment
fire
is
at a later
time the
latent
image
fail-
ure or pure accident prevented from being fine negatives. These are the
way
to solve the
artists
if
cleansings, resurrections but .Adams has not, unless the negatives were
really hopeless.
ite
Of
darkroom somebod\-
many
negatives,
left
a real fire, in
iq?8, in
hisYosem-
on he
lost
re-
same
as
bctorc. Snll,
number
,i
dut\-, that
night oi
fire,
Hheen
and hang up
\-ears" ellort
rangmg
emotion
fair\-tale,
is
dark-wood
with
]et
the
ijreater:
still
ik\uit\-and-the-Beast-in-the-
e]ualit\'
olumbia,
like C
early
mornina
touristed,
man's
II
up
as
in sjhost
littleness
Edward
]Veston, little as
town
fairl\-;
he
is,
And
sits.
is
Cottardo Pw^.-on(,
8x10
certainh- his
in natural
major
more of
the
He
studio light.
"
Yosemite
it-
chance to
is
right.
As with previous
thinks
portfolios,
is
it
some of
on Adams and
climbing
photographed
versial,
camera
see
of
Adams
towns
he was with an
all
common
remembered
hitc
mous
at
his reactions to
can
make now
the
most beautiful
was
man,
in his teens,
\'et
made
fall
from con-
newly-revealed perspective
his works,
as a
it
regret this
done
in the
in the past.
medium
of photography.
Beaumont and
Isiancx
Newhall
PORTFOLIO
EDWARD WESTON
Cariwel Highlands, Califcrnui, l()^j
VI
ig^l
4-
MAROON
BELLS
SILVERTON
Colorado, igji
6.
GRADUATION DRESS
Yoseniite
California,
alley,
IQ^8
STILL LIFE
San Francisco,
c.
ig^i
7-
8.
ALDERS
SPANDREL
c.
GOTTARDO PIAZZONI
FRESH
Yoseniile
alley,
SNOW
California,
c.
IN HIS STUDIO
/947
San Francisco,
c.
tgji
/949
PORTFOLIO VI
Portfolio
VI
There
The
numbered
limited edition of
i
made on Bro\
Ansel
Adams
never appeared as
that
knowledge and
Nos.
6,
1,
in
rights reserved.
No
prints and
through
J.
paper Agfa-Gevaert\
ira
Selenium.
belief, photoj^raphs
Nos.
in
2,
?,
and S have
VI comprises unique
these in Portfolio
AH
of which loo
Portfolio
copies,
no
\ears.
no further prints
will
form:
vears.
form without
This includes
slides
and microfiche.
Composition
in
&
b\-
Breu
er
&
Cantclmo,
New
York.
wish to express warmest appreciation to Ted Or^an, Phvllis Donohue and James Taylor
for their m\aluable assistance in the production
of Portfolio VI.
VI
Plate
VI
Plate 2
VI
Plate
VI
Plate 4
VI
Plate
VI
Plate 6
VI
Plate 7
VI
Plate 8
\
^
VI
Plate 9
- ^'^
->>.>
f>
*>*
mr
#'
1//
^^' H
S
m
KW'
amti
VI
Plate 10
ANSEL ADAMS
PORTFOLIO
NEW YORK
1976
VII
PORTFOLIO
DciiicatCii to
VII
FOREWORD
This
phoioi^r.iphx'.
p.irri.il \ist.i
o{ ni\' lite
hope
that m\'
work
encourage
will
crearne excitement
To
repeat
in the i^reat
statement
world around
iis.
performance
When
now
made o\er
\u\'
creatne impact
ar the neo;ative
the
wonder and
64 approach.
is
compa-
performance. Each
its
look
is
btir also
of
expanded
b\ the
opportiinir\ to
photiii;raph\-.
p,i\-
0\er
around excursions,
response stimulated
homao;e to
a c^reat
at
the
Musetim
mutual
of
true benefactor of
friend and
Modern Art
ol the
in
warm
His timeh'
Department of Photog-
the Cdiair of
Generous do-
organizarums.
examples
ol
,im
proud
work from
in iq^^b.
luv
1
hnd
it
exhibition, at
An American
ditlicult :o
h.id
it
Place in
cirk
would have
iiriainal
medium
nication, new
of expression and
qualities of
if
half
ever-
communication.
means
of
me a
ciimmu-
le\cls of subjective
and
which,
its
more than
expandin^^ potential as
The
m m\'
anticipate
lifetime, w
ill
new departures
assure the
Adams
Caruicl
May, igjb
power
PORTFOLIO
VII
I.
WHTFE BRANCHES
Mono
lake, Californm,igjo
2.
Mission Sm,
Xavur
del
3-
5^//
Frannsco,Cal,Jornm,igjz
4-
TREE,
5-
GERRY SHARPE
6.
ASPENS
Northern
New
Mexico, igj8
7-
8.
OIL DERRICKS
9-
SNOW
lo.
II.
SUNRISE.
MOUNT TOM
12.
PORTFOLIO
Portfolio \
There
No
I
The
are
made
b\
is
made from
Anscl
papers, developed in
Adams on Agfa-Gevaert
Dektol and toned
The
title is
in
Bro\
ira
and
Selenium.
No
52
of San Francisco.
form without
This includes
slides
and microfiche.
Composition
in
b\'
&
Cantelmo,
sale.
through O.
the negatives.
original Polaroid
viliicli
copies lettered
in the
1111
1 1
Kodabromide
Thev
.1
numherej
he enlargements were
made bv
boi-n piodiicoci
II h.ts
VII
Bill
New
Norman
York.
Locks. Phyllis
Donohu
in the
VII
Plate
VII
Plate 2
VII
Plate
T.
VII
Plate
VII
Plate
VII
Plate 6
VII
Plate 7
VII
Plate 8
VII
Plate 9
VII
Plate 10
VII
Plate
Vll
Plate 12
LIST OF
PORTFOLIO
I.
THE PRINTS
ig4S
8.
Oregon. 1943
1.
2.
3.
Mount McKmlcy,
Alaska, 1948
9.
10.
California, 194S
5.
6.
7.
4.
i94('>
8.
tree,
10. Trailside,
1
12.
3.
4.
6.
7.
Yosemite Valley
Noon
9 so
&
Smoky
New-
California, 1946
II,
1.
2.
Moiiuincuts
3.
Montana, 1942
Forest, early morning. Mount Rainier
National Park, Washington, 1949
Dunes, hazy sun. White Sands National
Monument, New Mexico, 1941
White House Rum, morning. Canyon de
4.
5.
6.
7.
8.
9.
III,
ig6o
Merced River,
cliffs
Dome,
autumn, 1939
Lower Yosemite Fall, ca. 1946
Trees and snow, 1933
Branches in snow. ca. 1932
El Capitan. sunrise. 1956
ca.
12.
Nevada
13.
I.
1948
10.
I
1927
of Cathedral Rocks,
1942
Chelly National
5.
Dawn, autumn
PORTFOLIO
2.
Place,
York, 1938
Clouds above Golden Canyon, Death Valley,
PORTFOLIO
1.
An American
Bay National
15.
Valley,
Alfred Stieglitz,
14.
Oak
13.
California, 1948
I.
12.
1948
9.
California,
1946
In
California, 1942
Fall.
rainbov\
Trees and
](i.
Half
cliffs,
ca.
1947
ca.
1955
1952
1954
Dome, thunder
PORTFOLIO
IV. 1963
10.
Teklanika River,
Mount McKinley
National
PORTFOLIO
VI.
974
3.
Leaf, Glacier
ca.
1.
2.
Alaska, 1948
4.
5.
6.
4.
5.
ca.
7.
Fall,
3.
1948
tree.
11.
ca.
7.
8.
1932
California. 1953
Saratoga,
9.
10.
i960
1947
Gottardo Piazzoni
in his studio.
San
12.
Still life.
Castle Rock,
ca.
Sonoma County
California. 1963
10.
1942
California. 1948
California, 1962
9.
bells,
Hills.
Clearing storm.
Oak
Maroon
Monument, Arizona.
6.
California. 1951
8.
1950
ca.
1940
Siesta Lake,
PORTFOLIO
VII. 1976
Storm
ca.
14.
surf.
Timber Cove.
California,
1.
i960
3.
6.
7.
Interior
4.
PORTFOLIO
V. igyo
5.
1.
Pinnacles.
Alabama
Owens
Hills.
Valley.
California. 1945
2.
3.
Sierra
Moon
5.
7.
Petroglyphs.
Hills,
8.
Woman
9.
White stump,
ca.
1936
Sierra
9.
statute
and
oil derricks.
ca.
10.
11.
Sunrise.
Mount Tom.
ca.
Sierra
1955
Yosemite
1968
Nevada,
Nevada. California,
Long
1952
Cemetery
Owens
8.
i960
Monument
Tree,
ca.
Nevada. California.
4.
6.
Lake, California,
2.
Owens
Mono
1950
15. Sierra
White branches.
Type 52 Land
Photograph (Newel Post, Canterbury, New
Hampshire, 1975)
Original Polaroid PolaPan
$25.00
FPT
by
Arnold
Newman
713953
ISBN D-fl212-1122-b
00002450