Instead of emphasizing the fact that the Kings Canyon region was home to Sierra black bears, Ickes stressed the 200 Native American archaeological sites. On March 4, 1940, President Roosevelt signed legislation creating Kings Canyon National Park.9 “Because it was a roadless park, and because of his disability, Roosevelt would never be able to see Kings Canyon in person,” the historians Dayton Duncan and Ken Burns write in The National Parks. “Instead, he contented himself with following John Muir’s trail through the photographs of Ansel Adams.”10
Ickes now hired Adams to work for the Department of the Interior. Ickes paid him $22.22 a day to go all over the United States, visiting dozens of national parks and monuments, shooting images to bring back to Washington, D.C., for public display. Ickes hoped Adams’s photographs would be analogous to the WPA guidebooks. The bombing of Pearl Harbor by the Japanese and the United States’ entry into World War II lent urgency to Adams’s project: his photos showed America’s treasured landscapes—landscapes surely worth fighting for. The forty-four-year-old Adams called his nature photography “emotional presentations” for the troops. Adams also taught soldiers at Fort Ord, California, photography and escorted troops around Yosemite Valley.
By 1945 Ansel Adams was almost a household name in America, the nation’s most respected photographer. Nobody could match his achievements. Adams helped found the journal Aperture, showcasing up-and-coming photographers and promoting the newest camera techniques and equipment to the general public. Yosemite would remain Adams’s special place, but a visit to Glacier National Park in 1941 (paid for by Ickes) set off a craving for Alaskan landscapes. Adams started looking for a way to experience the far north, and an opportunity arose in 1942 when the John Guggenheim Memorial Foundation offered him a fellowship grant to explore national parks with his celebrated lens. Seldom has a grant been so wisely allocated. Adams was convinced that in Alaska his ideal of the wilderness would evolve to new heights.
Adams didn’t travel light. Wherever he went, he took his eight-by-ten camera, lenses, filter sets, Graflex cameras, and three specially designed pods—so many accessories, in fact, that to list them all would fill a page.11 Adams, a consummate professional, was determined to capture the essence of every U.S. national park and of many national monuments. He looped through the Southwest to take photographs at Joshua Tree, Organ Pipe, and Saguaro. He had a new 1946 Pontiac station wagon, and he put a lot of tires and miles on it as he drove down to Big Bend National Park, where the Rio Grande flows like a lazy serpent.12 A few of those first-round photos of national parks—taken in Arizona, Utah, Nevada, New Mexico, and Texas—appeared in Fortune, accompanied by an article by Bernard De Voto. De Voto, through his essays in Harper’s Weekly, published during the Truman-Eisenhower years, did a good job of filling the void left by Marshall’s death and Ickes’s retirement. He became perhaps the best publicist for protecting America’s public lands against powerful stockmen. Secretary of the Interior Julius A. Krug—Ickes’s successor—in a rare burst of inspiration, appointed De Voto to the National Park Advisory Board. What struck De Voto about Adams’s pictures, he later revealed in The Western Paradox, was the absence of living creatures. “For myself, I had a particular admiration for photographs of Ansel Adams but it struck you with force that the Adams landscape was sterile, a human figure in it would have been discordant to the point of sacrilege,” De Voto wrote. “Say as much as you please about the landscape of time beginning, or of the world before time, the more accurate remark was that it was the landscape before life, without life, the landscape of death.”13
Adams hoped his photographs would encourage Americans to visit their national parks. Conservation, he believed, would succeed only if everyday folks had memorable experiences in nature. Indeed, Adams’s work did encourage an entire generation to look at wild America with fresh, neo-romantic eyes. Statuesque saguaro cacti, half-frozen lakes, roaring waterfalls, storm-filled skies, towering redwoods, slate outcroppings, wintertime orchards, lone peaks, nameless rocks, and black suns were all part of Adams’s own interpretation of America the beautiful. “What I call the Natural Scene—just nature—is a symbol of many things to me, a never-ending potential,” Adams wrote to his friend Ted Spencer in February 1947. “I have associated the quality of health (not merely in the physiological or psychological sense) with the quality and moods of sun and earth and vital, normal people. . . . The face of most art reminds me of a human face, bewildered, wide eyed, with a skin of pallor and pimples. The relatively few authentic creators of our time possess a resonance with eternity. I think this resonance is something to fight for—and it takes tremendous energy and sacrifice.”14
It was this belief that the “national scene” had infinite possibilities for a photographer that Adams brought with him to Alaska just a few months after writing to Spencer. Like Rockwell Kent’s son Rocky, Adams’s fourteen-year-old son, Michael, accompanied him to Alaska’s national parks and monuments during the summer of 1947. They would spend six weeks together in Alaska. They drove up U.S. Highway 101 from San Francisco to Seattle, parked in a garage, and boarded the steamer SS Washington to Juneau. They traveled along the Inland Passage, stuffing themselves on the buffet food, just as Muir had done decades before. An immense bombardment of thunder and bolt lightning left them enthralled, as if it were a fireworks display. “I was deeply affected by my first glimpse of the northern coasts and mountains,” Adams recalled in An Autobiography. “The rain did not depress me; it was clean and invigorating, and the occasional glimpses of far-off summits gave promise of marvels to come.”15
To facilitate Adams’s travels, Ickes had asked Governor Ernest Gruening of Alaska to open the territory for the famous photographer. Everything in Alaska, Gruening told Adams, would be put at his disposal. Gruening had been editor of the Nation during the Harding years, lashing out regularly against the administration, and was pleased, twenty-five years later, to be Alaska’s territorial governor, able to defend stupendous southeastern Alaskan landscapes from reckless development. But Adams was irate because Gruening had also vigorously advocated for construction of the Rampart Dam across the Yukon River, which if completed would have been an environmental tragedy. Having been an official with the Department of the Interior in the 1930s, Gruening knew all the special sites of Alaska, and laid them all out for the Adamses to enjoy. For Adams it was a golden opportunity to see Alaska’s far-flung wonders with professional forest rangers and biologists as guides. The Department of the Interior, eager to promote Glacier Bay and Mount McKinley, thought that Adams would be an ideal publicist. So upon Adams’s arrival in Juneau, Governor Gruening (who was also promoting statehood) fêted him. One gorgeous black-and-white photo of Mount Saint Elias or Admiralty Island, it was understood, could do more to increase tourism than a warehouse full of brochures.
Gruening put an amphibious two-engine Grumman Goose at Adams’s disposal. The pilot, a wildlife officer, having suffered wind, rain, and dizzyingly high altitudes for decades, called the plane the Flying Coffin. After a shaky takeoff, Ansel and Michael’s nerves stabilized. They soon enjoyed flying low over Alaska’s coastal waters, landing in bays where their pilot inspected commercial fishing boats, ensuring that the crews hadn’t exceeded their catch limits. A lover of gadgetry, Adams enjoyed studying the plane’s instrument panels; the cockpits of planes used in the coastal areas of Alaska were quite different from those operating in the interior and the Arctic. From this bird’s-eye view, Adams took a series of distant color shots of “Mount Saint Elias floating in the clouds.” These “personal” photos remained, as late as 2010, in the personal collection of Michael Adams, unseen by the general public.
In his correspondence Adams was boyishly enthusiastic about flying over the Brady Icefield, Mount Fairweather, and Icy Strait. All high peaks were mysterious to Adams. Often, Adams wore a Brooks Brothers sports jacket, a white shirt, and a plain tie; he didn’t like people who turned native. He was balding, and his broad forehead was perhaps his most rec
ognizable feature. Adams’s well-trimmed beard suggested a tweedy college professor. Alaskans soon learned that the always alert Adams was a master at interpreting the moods of their landscape; he would interrupt conversations to point out when a cloud drooped or the sun turned fierce. The Earth had been created long ago—in the flash of a starburst, he thought—and his calling was to turn the creator’s magic flashes into framable high art. The whole labyrinth of human consciousness could be found, Adams believed, in a single blade of grass or a fallen rock. “The quality of place, the reaction to immediate contact with earth and glowing things that have a frugal relationship with mountains and sky,” he wrote, “is essential to the integrity of our existence on this planet.”16
In Juneau and Fairbanks, there would be many stories of Adams flying around Alaska in the Grumman Goose and landing on water. The six- to eight-passenger plane regulary landed on lakes and bays so that Adams could compose quick pictures. He ordered his pilots to swoop low toward the ground to gain a better angle on sunsets and wildfires. One afternoon, Adams’s plane nearly crashed when the right-hand landing gear malfunctioned. But as Adams had predicted, the death-defying maneuver helped him find the perfect pink-and-purple rose light, a light that infused the blue-green-gray-white landscape with grace, making for memorable photos. “We crisscrossed the Coast Range many times, exploring deep valleys, lakes, passes, and peaks,” Adams wrote in An Autobiography. “The shadows lengthened and the golden light on the snowy mountains intensified.”17
A great photographer like Adams will spend weeks, even months, in search of the perfect picture. For that reason, Mount McKinley was a formidable challenge. It seemed arrogant in its immensity, stubbornly denying photographers access to its inner secrets. Perpetually snowcapped, the 20,000-foot, wind-bitten peak simply defied the power of Adams’s thirty-five millimeter Contax lens. Even if a photographer had perfect conditions of light, shadow, and wind, it was difficult to capture such bulk, even with a wide-angle lens. Patience was necessary if the goal was to create the definitive photo of America’s tallest peak. Many photographers, unaccustomed to the thin air at high altitudes, suffered dizzy spells near this peak. Adams, however, took to Mount McKinley, climbing it and plotting his strategy. Since McKinley was three times higher than Yosemite’s Half Dome, he realized that the task would be three times as difficult.18
Tourists coming to Mount McKinley National Park during the summer of 1947 were often unsure how to approach the steep summit. Somehow simply driving along the park’s road was unfulfilling. Thus a booming business began; companies offered hourlong air trips around the peak. The tourists were thrilled to experience McKinley from above; and motion picture crews, it was widely thought, could capture the mountain in this way far better than still photographers. But Adams did not want his defining photograph of McKinley to be an aerial shot. He wanted to capture the spiritual essence of the entire Denali wilderness from the ground. If he could reveal the sublime beauty of Yosemite’s waterfalls and the Point Lomas seascapes on his plates, he should be up to the challenge of McKinley.
Like Charles Sheldon, Adams believed the park’s proper name was Denali. But whatever the place was called, everything about it proved difficult. On the train ride to McKinley Station, for example, a steady rain made the rails slippery, and the conductor almost collided with a full-grown moose. “The rain finally stopped,” Adams wrote later, “the rails dried, and the brakes worked. We passed several busy repair crews; the melting permafrost frequently causes the rails to sag, creating a continuous maintenance problem.”19
Eventually, Adams and his son reached the diner at McKinley Station for a meal that tasted of cardboard. At night, mosquitoes filled the air. The Adamses were tired even before their adventure had begun. After a good night’s sleep, the two headed ninety miles into Mount McKinley National Park in a flatbed Ford truck with camera equipment piled in back. They had been given the key to the ranger station at Wonder Lake—where they discovered that bears had recently broken into the storage bin and wreaked havoc. The bruins had eaten huge boxes of U.S. Army K-ration chocolate. “It was a kick to me as a kid to see the muzzle imprint of a bear on the window glass,” Michael Adams recalled. “They had made quite a mess.” To get a feel for Wonder Lake the Adamses hiked a steep switchback trail where the wind bore down on them with a vengeance. Oddly, the remote landscape reminded them both of Death Valley. It looked like the lifeless landscape Bernard De Voto had noted in The Western Paradox, although here they had insects to contend with. As a connoisseur of light, Adams was keenly aware of changes in the weather and of wind velocity in particular. Now, swatting bugs at one o’clock in the morning and dealing with the strange reality of the midnight sun, he felt the pressure of accomplishment. Adams was above all else a professional.
They found an ideal panoramic view of McKinley from just above Wonder Lake. Adams set up his tripod, but it was hard to determine the best angle for the shot. The right light would last at that angle for only two or three minutes. For a photographer seeking the perfect frame, sometimes in rain and fog, it was an ordeal. “The scale of this great mountain,” Adams admitted, “is hard to believe.”20
In his letters, Adams complains of the insistent rain. Visibility was awful. Fat mosquitoes swarmed around them in huge clouds. The bugs even insinuated themselves between the film and lens. When Adams developed his photos of McKinley, many had been ruined by mosquitoes, which showed up, looking like cartoon airplanes, within the frame. Adams was “disgusted” with himself for not being able to get the perfect picture shot. But in truth, he was being too hard on himself. One of his black-and-whites—Mount McKinley and Wonder Lake—would be considered a modern masterpiece, easily the equal of his own Monolith, The Face of Half Dome, and Clearing Winter Storm. Taken with a telephoto lens (twenty-three-inch focal length on an eight-by-ten format camera), Mount McKinley and Wonder Lake shows the mountain and a few swiftly moving clouds, giving a shifting, otherworldly effect.21 The grayness of the scene, the slight blurring, the melting snow seem to have been heaven-sent. Adams had hit his mark.
Michael Adams never forgot the moment when his father shot Mount McKinley and Wonder Lake. They had set up a tripod on a hillside, had doused themselves with citronella to ward off the bugs, and were waiting for the right moment, sheltered by a few stunted spruce trees. A near-silence peculiar to Alaska permeated the air—a vibrating, void-like hum. Mount McKinley conveys rock-hard permanence, silent and untouched—it is in fact a place where no one has ever dwelled in the winter months. Clouds shift rapidly around the summit; looking up at McKinley for too long can actually induce motion sickness. Michael also remembered the glare of the moon, and the colors swirling at dawn and dusk. From their ridge, they patiently waited for it—the flashing moment when, as the novelist Jack Kerouac declared, everything becomes valiantly understood. All around them was rolling tundra; and on Wonder Lake the ripples reflected and distorted light. It was hard to tell whether the light was falling or rising. “We both knew the moment,” Michael Adams recalled. “It was really something special. We had been to a lot of national parks, seen a lot of sights, but this was beyond amazing.”22
Judging art can be a matter of personal taste. Nobody has a monopoly on opinion. But it is safe to say that in Alaska Adams produced one of the greatest modern landscape photographs. In Mount McKinley and Wonder Lake, shot at 1:30 A.M. in July 1947, with an ethereal light on the lake, Adams managed to make the summit, the tallest mountain in North America, seem an auxiliary to the Denali wilderness that surrounds it. The contrast in the photo between peak and lake is sharp. The tonal effect is that mountain and sky are both subservient to the lake.
In the 1930s, Adams had perfected his “zone system,” a pragmatic method of achieving high vision by “controlling exposure, development, and printing, incisively translating detail scale, texture, and tone into the final image.”23 This process became his preoccupation. Put in layman’s terms, Adams had professionalized the art of capturing
the changing nature of light and how it sweeps over a landscape. “The zone system is designed to eliminate guesswork,” Robert Hirsch explained in Seizing the Light: A History of Photography, “and give photographers repeatable control over their materials so that the outcome can be predicted (that is, previsualized).”24
Years after taking Mount McKinley and Wonder Lake, Adams explained his process in Examples: The Making of 40 Photographs. For aspiring nature photographers, for whom natural light is everything, the book remains a paragon of the art form. In it, Adams revealed how he debated whether to use a red 25-A filter but ended up going with a deep yellow 15, which served to suppress foreground shadows. In total, Adams shot three fine eight-by-ten images of Denali. Half an hour later, at 2:00 A.M., clouds had enveloped the peak and the light no longer radiated so expressively off Wonder Lake.25 Night at last fell over the summit. There would be other impressive compositions by Adams in the coming years—Moon and Half Dome (1960) and Rock and Surf (1951) are often cited—but none ever matched the haunting presence of his 1947 Alaskan masterpiece.26
The Quiet World: Saving Alaska's Wilderness Kingdom, 1879-1960 Page 41