WEBVTT 00:00:01.568 --> 00:00:06.305 >> "CALIFORNIA'S GOLD" IS PRODUCED IN ASSOCIATION WITH KCET LOS ANGELES 00:00:06.307 --> 00:00:08.207 PRODUCED IN ASSOCIATION WITH KCET LOS ANGELES AND IS SEEN STATEWIDE ON 00:00:08.209 --> 00:00:10.709 WITH KCET LOS ANGELES AND IS SEEN STATEWIDE ON CALIFORNIA PUBLIC TELEVISION. 00:00:10.711 --> 00:00:12.578 AND IS SEEN STATEWIDE ON CALIFORNIA PUBLIC TELEVISION. THIS SERIES IS ENDORSED BY THE 00:00:12.580 --> 00:00:14.880 CALIFORNIA PUBLIC TELEVISION. THIS SERIES IS ENDORSED BY THE CALIFORNIA TEACHERS ASSOCIATION, 00:00:14.882 --> 00:00:16.615 THIS SERIES IS ENDORSED BY THE CALIFORNIA TEACHERS ASSOCIATION, THE CALIFORNIA SCHOOL BOARDS 00:00:16.617 --> 00:00:18.484 CALIFORNIA TEACHERS ASSOCIATION, THE CALIFORNIA SCHOOL BOARDS ASSOCIATION, AND THE CALIFORNIA 00:00:18.486 --> 00:00:21.820 THE CALIFORNIA SCHOOL BOARDS ASSOCIATION, AND THE CALIFORNIA LIBRARY ASSOCIATION. 00:00:21.822 --> 00:00:22.855 ASSOCIATION, AND THE CALIFORNIA LIBRARY ASSOCIATION. [CAPTIONING MADE POSSIBLE BY 00:00:22.857 --> 00:00:25.357 LIBRARY ASSOCIATION. [CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] 00:00:25.359 --> 00:00:26.692 [CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] >> THEY'RE SOME OF THE MOST 00:00:26.694 --> 00:00:28.761 KCET PUBLIC TELEVISION] >> THEY'RE SOME OF THE MOST BEAUTIFUL AND AWE-INSPIRING 00:00:28.763 --> 00:00:32.031 >> THEY'RE SOME OF THE MOST BEAUTIFUL AND AWE-INSPIRING PHOTOGRAPHS EVER TAKEN. THEY NOT 00:00:32.033 --> 00:00:33.732 BEAUTIFUL AND AWE-INSPIRING PHOTOGRAPHS EVER TAKEN. THEY NOT ONLY CAPTURE THE SPECTACULAR 00:00:33.734 --> 00:00:36.035 PHOTOGRAPHS EVER TAKEN. THEY NOT ONLY CAPTURE THE SPECTACULAR NATURAL BEAUTY OF THE AMERICAN 00:00:36.037 --> 00:00:37.770 ONLY CAPTURE THE SPECTACULAR NATURAL BEAUTY OF THE AMERICAN WEST, BUT THEY GIVE US 00:00:37.772 --> 00:00:41.040 NATURAL BEAUTY OF THE AMERICAN WEST, BUT THEY GIVE US A SENSE OF PLACE, OF SCALE. 00:00:41.042 --> 00:00:42.941 WEST, BUT THEY GIVE US A SENSE OF PLACE, OF SCALE. THESE PHOTOGRAPHS ARE 00:00:42.943 --> 00:00:44.643 A SENSE OF PLACE, OF SCALE. THESE PHOTOGRAPHS ARE BIGGER THAN LIFE AND WERE TAKEN 00:00:44.645 --> 00:00:47.179 THESE PHOTOGRAPHS ARE BIGGER THAN LIFE AND WERE TAKEN BY ANSEL ADAMS, WHO OVER THE 00:00:47.181 --> 00:00:49.281 BIGGER THAN LIFE AND WERE TAKEN BY ANSEL ADAMS, WHO OVER THE YEARS BECAME A TRUE AMERICAN 00:00:49.283 --> 00:00:52.384 BY ANSEL ADAMS, WHO OVER THE YEARS BECAME A TRUE AMERICAN ICON. HE WAS PASSIONATE ABOUT 00:00:52.386 --> 00:00:54.687 YEARS BECAME A TRUE AMERICAN ICON. HE WAS PASSIONATE ABOUT HIS LIFE'S WORK AND FELT MOST AT 00:00:54.689 --> 00:00:57.723 ICON. HE WAS PASSIONATE ABOUT HIS LIFE'S WORK AND FELT MOST AT HOME IN YOSEMITE NATIONAL PARK. 00:00:57.725 --> 00:01:00.092 HIS LIFE'S WORK AND FELT MOST AT HOME IN YOSEMITE NATIONAL PARK. HIS PHOTOGRAPHS OF YOSEMITE ARE 00:01:00.094 --> 00:01:03.128 HOME IN YOSEMITE NATIONAL PARK. HIS PHOTOGRAPHS OF YOSEMITE ARE THEMSELVES ICONIC. IN FACT, 00:01:03.130 --> 00:01:05.664 HIS PHOTOGRAPHS OF YOSEMITE ARE THEMSELVES ICONIC. IN FACT, ANSEL ADAMS' YOSEMITE LANDSCAPE 00:01:05.666 --> 00:01:08.500 THEMSELVES ICONIC. IN FACT, ANSEL ADAMS' YOSEMITE LANDSCAPE PHOTOGRAPHS ARE SOME OF THE MOST 00:01:08.502 --> 00:01:11.470 ANSEL ADAMS' YOSEMITE LANDSCAPE PHOTOGRAPHS ARE SOME OF THE MOST RECOGNIZABLE IN THE WORLD. 00:01:14.307 --> 00:01:21.046 OK. OUR YOSEMITE ADVENTURE BEGINS. ANOTHER BEAUTIFUL DAY IN PARADISE. IT'S EARLY MORNING. 00:01:21.048 --> 00:01:23.382 BEGINS. ANOTHER BEAUTIFUL DAY IN PARADISE. IT'S EARLY MORNING. I'M STANDING HERE IN YOSEMITE 00:01:23.384 --> 00:01:25.384 PARADISE. IT'S EARLY MORNING. I'M STANDING HERE IN YOSEMITE NATIONAL PARK. AND THIS IS GOING 00:01:25.386 --> 00:01:27.319 I'M STANDING HERE IN YOSEMITE NATIONAL PARK. AND THIS IS GOING TO BE A VERY EXCITING DAY FOR 00:01:27.321 --> 00:01:29.054 NATIONAL PARK. AND THIS IS GOING TO BE A VERY EXCITING DAY FOR ALL OF US. BECAUSE THIS IS GOING 00:01:29.056 --> 00:01:31.357 TO BE A VERY EXCITING DAY FOR ALL OF US. BECAUSE THIS IS GOING TO BE A COMBINATION ADVENTURE 00:01:31.359 --> 00:01:33.659 ALL OF US. BECAUSE THIS IS GOING TO BE A COMBINATION ADVENTURE DEALING WITH NATURAL HISTORY AND 00:01:33.661 --> 00:01:35.728 TO BE A COMBINATION ADVENTURE DEALING WITH NATURAL HISTORY AND HUMAN HISTORY. 00:01:35.730 --> 00:01:37.763 DEALING WITH NATURAL HISTORY AND HUMAN HISTORY. AND HERE TO BE OUR GUIDE TODAY 00:01:37.765 --> 00:01:39.098 HUMAN HISTORY. AND HERE TO BE OUR GUIDE TODAY AND KIND OF TAKE US THROUGH THIS 00:01:39.100 --> 00:01:41.767 AND HERE TO BE OUR GUIDE TODAY AND KIND OF TAKE US THROUGH THIS ADVENTURE IS MICHAEL ADAMS, THE 00:01:41.769 --> 00:01:43.869 AND KIND OF TAKE US THROUGH THIS ADVENTURE IS MICHAEL ADAMS, THE SON OF ICONIC NATURE 00:01:43.871 --> 00:01:46.305 ADVENTURE IS MICHAEL ADAMS, THE SON OF ICONIC NATURE PHOTOGRAPHER ANSEL ADAMS, WHO, 00:01:46.307 --> 00:01:49.708 SON OF ICONIC NATURE PHOTOGRAPHER ANSEL ADAMS, WHO, MICHAEL, IN HIS OWN WAY, HE NOT 00:01:49.710 --> 00:01:52.411 PHOTOGRAPHER ANSEL ADAMS, WHO, MICHAEL, IN HIS OWN WAY, HE NOT ONLY INCREASED AWARENESS OF 00:01:52.413 --> 00:01:55.047 MICHAEL, IN HIS OWN WAY, HE NOT ONLY INCREASED AWARENESS OF YOSEMITE WHEN HE WAS ALIVE BUT 00:01:55.049 --> 00:01:57.383 ONLY INCREASED AWARENESS OF YOSEMITE WHEN HE WAS ALIVE BUT HIS PHOTOGRAPHS ARE STILL DOING 00:01:57.385 --> 00:01:59.051 YOSEMITE WHEN HE WAS ALIVE BUT HIS PHOTOGRAPHS ARE STILL DOING THAT TODAY. 00:01:59.053 --> 00:02:00.686 >> ABSOLUTELY RIGHT. HE'S KNOWN 00:02:00.820 --> 00:02:03.389 FOR YOSEMITE. AND YOSEMITE IS 00:02:03.523 --> 00:02:05.157 KNOWN FOR ANSEL ADAMS IN MANY 00:02:05.291 --> 00:02:07.593 WAYS. AND WE HAVE THE ANSEL 00:02:07.727 --> 00:02:08.894 ADAMS GALLERY NOW AND THE 00:02:09.029 --> 00:02:13.165 HISTORY BEHIND THAT THAT'S VERY INTERESTING. >> AND THAT IS VERY INTERESTING 00:02:13.167 --> 00:02:16.068 INTERESTING. >> AND THAT IS VERY INTERESTING BECAUSE HERE IS THE ANSEL ADAMS 00:02:16.070 --> 00:02:17.569 >> AND THAT IS VERY INTERESTING BECAUSE HERE IS THE ANSEL ADAMS GALLERY TODAY. AND BOY LOOK AT 00:02:17.571 --> 00:02:19.838 BECAUSE HERE IS THE ANSEL ADAMS GALLERY TODAY. AND BOY LOOK AT THE LOCATION. COULDN'T GET ANY 00:02:19.840 --> 00:02:21.106 GALLERY TODAY. AND BOY LOOK AT THE LOCATION. COULDN'T GET ANY BETTER THAN THIS. 00:02:21.108 --> 00:02:22.174 THE LOCATION. COULDN'T GET ANY BETTER THAN THIS. >> IT'S PRETTY NICE. 00:02:22.176 --> 00:02:23.542 BETTER THAN THIS. >> IT'S PRETTY NICE. >> BUT YOU'RE STARTING US OFF 00:02:23.544 --> 00:02:25.811 >> IT'S PRETTY NICE. >> BUT YOU'RE STARTING US OFF OUT HERE BECAUSE THIS IS A PART 00:02:25.813 --> 00:02:27.513 >> BUT YOU'RE STARTING US OFF OUT HERE BECAUSE THIS IS A PART OF THE HISTORY I DIDN'T KNOW. 00:02:27.515 --> 00:02:30.049 OUT HERE BECAUSE THIS IS A PART OF THE HISTORY I DIDN'T KNOW. THIS USED TO BE KNOWN AS... 00:02:30.051 --> 00:02:31.717 OF THE HISTORY I DIDN'T KNOW. THIS USED TO BE KNOWN AS... >> SORT OF AN ARTISTS' 00:02:31.719 --> 00:02:33.218 THIS USED TO BE KNOWN AS... >> SORT OF AN ARTISTS' RESIDENCE. THIS WAS THE ORIGINAL 00:02:33.220 --> 00:02:35.320 >> SORT OF AN ARTISTS' RESIDENCE. THIS WAS THE ORIGINAL GOVERNMENT CENTER. AND 00:02:35.322 --> 00:02:37.823 RESIDENCE. THIS WAS THE ORIGINAL GOVERNMENT CENTER. AND HISTORY-WISE, MY GRANDFATHER 00:02:37.825 --> 00:02:40.759 GOVERNMENT CENTER. AND HISTORY-WISE, MY GRANDFATHER STARTED HERE IN A TENT IN 1902 00:02:40.761 --> 00:02:42.194 HISTORY-WISE, MY GRANDFATHER STARTED HERE IN A TENT IN 1902 OVER IN THE OLD VILLAGE, WHICH 00:02:42.196 --> 00:02:44.697 STARTED HERE IN A TENT IN 1902 OVER IN THE OLD VILLAGE, WHICH IS STILL THERE. THE ONLY 00:02:44.699 --> 00:02:46.231 OVER IN THE OLD VILLAGE, WHICH IS STILL THERE. THE ONLY STRUCTURE REMAINING IS THE 00:02:46.233 --> 00:02:48.634 IS STILL THERE. THE ONLY STRUCTURE REMAINING IS THE CHAPEL. BUT IN THE 1920s, THE 00:02:48.636 --> 00:02:50.803 STRUCTURE REMAINING IS THE CHAPEL. BUT IN THE 1920s, THE PARK SERVICE ASKED THE PEOPLE 00:02:50.805 --> 00:02:52.471 CHAPEL. BUT IN THE 1920s, THE PARK SERVICE ASKED THE PEOPLE THAT WERE WORKING OVER THERE AND 00:02:52.473 --> 00:02:53.639 PARK SERVICE ASKED THE PEOPLE THAT WERE WORKING OVER THERE AND HAD BUILDINGS TO MOVE TO THIS 00:02:53.641 --> 00:02:56.141 THAT WERE WORKING OVER THERE AND HAD BUILDINGS TO MOVE TO THIS NEW AREA. AND MY GRANDFATHER 00:02:56.143 --> 00:02:57.409 HAD BUILDINGS TO MOVE TO THIS NEW AREA. AND MY GRANDFATHER DID--HARRY BEST. AND 00:02:57.411 --> 00:02:59.078 NEW AREA. AND MY GRANDFATHER DID--HARRY BEST. AND HE OPENED THIS GALLERY HERE. 00:02:59.080 --> 00:03:00.646 DID--HARRY BEST. AND HE OPENED THIS GALLERY HERE. HE CALLED IT BEST'S STUDIO. AND 00:03:00.648 --> 00:03:02.715 HE OPENED THIS GALLERY HERE. HE CALLED IT BEST'S STUDIO. AND RIGHT NEXT DOOR WAS THE BOYSEN 00:03:02.717 --> 00:03:04.583 HE CALLED IT BEST'S STUDIO. AND RIGHT NEXT DOOR WAS THE BOYSEN STUDIO AND THE POST OFFICE WAS 00:03:04.585 --> 00:03:05.918 RIGHT NEXT DOOR WAS THE BOYSEN STUDIO AND THE POST OFFICE WAS BUILT. AND THERE WAS A 00:03:05.920 --> 00:03:07.720 STUDIO AND THE POST OFFICE WAS BUILT. AND THERE WAS A FOLEY STUDIO ON THE OTHER SIDE 00:03:07.722 --> 00:03:09.621 BUILT. AND THERE WAS A FOLEY STUDIO ON THE OTHER SIDE AND THEN A PILLSBURY STUDIO. AND 00:03:09.623 --> 00:03:10.956 FOLEY STUDIO ON THE OTHER SIDE AND THEN A PILLSBURY STUDIO. AND ULTIMATELY THE MUSEUM. 00:03:10.958 --> 00:03:11.724 AND THEN A PILLSBURY STUDIO. AND ULTIMATELY THE MUSEUM. >> SO, THERE WERE A NUMBER OF 00:03:11.726 --> 00:03:13.225 ULTIMATELY THE MUSEUM. >> SO, THERE WERE A NUMBER OF PHOTOGRAPHERS AND ARTISTS RIGHT 00:03:13.227 --> 00:03:15.327 >> SO, THERE WERE A NUMBER OF PHOTOGRAPHERS AND ARTISTS RIGHT UP AND DOWN THIS AREA IN THE 00:03:15.329 --> 00:03:17.363 PHOTOGRAPHERS AND ARTISTS RIGHT UP AND DOWN THIS AREA IN THE EARLY DAYS BACK IN THE EARLY 00:03:17.365 --> 00:03:18.430 UP AND DOWN THIS AREA IN THE EARLY DAYS BACK IN THE EARLY 1900s. 00:03:18.432 --> 00:03:19.498 EARLY DAYS BACK IN THE EARLY 1900s. >> IN THE 1920s IS WHEN THIS WAS 00:03:19.500 --> 00:03:22.468 1900s. >> IN THE 1920s IS WHEN THIS WAS BUILT IN THIS AREA. AND THE PARK 00:03:22.470 --> 00:03:24.536 >> IN THE 1920s IS WHEN THIS WAS BUILT IN THIS AREA. AND THE PARK SERVICE WANTED TO CONCENTRATE, 00:03:24.538 --> 00:03:26.005 BUILT IN THIS AREA. AND THE PARK SERVICE WANTED TO CONCENTRATE, I GUESS, THE COMMERCIAL 00:03:26.007 --> 00:03:27.306 SERVICE WANTED TO CONCENTRATE, I GUESS, THE COMMERCIAL DEVELOPMENT HERE WITH THE MUSEUM 00:03:27.308 --> 00:03:28.807 I GUESS, THE COMMERCIAL DEVELOPMENT HERE WITH THE MUSEUM AND A POST OFFICE AND VARIOUS 00:03:28.809 --> 00:03:31.677 DEVELOPMENT HERE WITH THE MUSEUM AND A POST OFFICE AND VARIOUS SHOPS FROM THE VARIOUS ARTISTS 00:03:31.679 --> 00:03:33.779 AND A POST OFFICE AND VARIOUS SHOPS FROM THE VARIOUS ARTISTS THAT WERE IN EXISTENCE THEN. 00:03:33.781 --> 00:03:34.913 SHOPS FROM THE VARIOUS ARTISTS THAT WERE IN EXISTENCE THEN. >> NOW, YOU MENTIONED ALL THESE 00:03:34.915 --> 00:03:36.382 THAT WERE IN EXISTENCE THEN. >> NOW, YOU MENTIONED ALL THESE OTHER ARTISTS. I'M NOT A 00:03:36.384 --> 00:03:39.485 >> NOW, YOU MENTIONED ALL THESE OTHER ARTISTS. I'M NOT A CONNOISSEUR OF THESE NAMES. BUT 00:03:39.487 --> 00:03:43.389 OTHER ARTISTS. I'M NOT A CONNOISSEUR OF THESE NAMES. BUT ANSEL ADAMS' NAME SURVIVED. WHY 00:03:43.391 --> 00:03:46.125 CONNOISSEUR OF THESE NAMES. BUT ANSEL ADAMS' NAME SURVIVED. WHY DID ANSEL ADAMS BECOME SO WELL 00:03:46.127 --> 00:03:47.993 ANSEL ADAMS' NAME SURVIVED. WHY DID ANSEL ADAMS BECOME SO WELL KNOWN AND ALL THESE OTHERS KIND 00:03:47.995 --> 00:03:49.028 DID ANSEL ADAMS BECOME SO WELL KNOWN AND ALL THESE OTHERS KIND OF FADE AWAY? 00:03:49.030 --> 00:03:50.329 KNOWN AND ALL THESE OTHERS KIND OF FADE AWAY? >> ESSENTIALLY THE OTHERS DIED 00:03:50.331 --> 00:03:52.431 OF FADE AWAY? >> ESSENTIALLY THE OTHERS DIED OUT. THERE WEREN'T FAMILY PEOPLE 00:03:52.433 --> 00:03:54.767 >> ESSENTIALLY THE OTHERS DIED OUT. THERE WEREN'T FAMILY PEOPLE THAT KEPT THEM GOING. IN ANSEL'S 00:03:54.769 --> 00:03:56.869 OUT. THERE WEREN'T FAMILY PEOPLE THAT KEPT THEM GOING. IN ANSEL'S CASE, HE MARRIED HARRY BEST'S 00:03:56.871 --> 00:03:58.170 THAT KEPT THEM GOING. IN ANSEL'S CASE, HE MARRIED HARRY BEST'S DAUGHTER--MY MOTHER. AND IN 00:03:58.172 --> 00:04:01.440 CASE, HE MARRIED HARRY BEST'S DAUGHTER--MY MOTHER. AND IN 1936, WHEN HARRY BEST DIED MY 00:04:01.442 --> 00:04:03.509 DAUGHTER--MY MOTHER. AND IN 1936, WHEN HARRY BEST DIED MY MOTHER AND FATHER TOOK OVER THIS 00:04:03.511 --> 00:04:05.210 1936, WHEN HARRY BEST DIED MY MOTHER AND FATHER TOOK OVER THIS BUSINESS. IT WAS KNOWN AS BEST'S 00:04:05.212 --> 00:04:07.846 MOTHER AND FATHER TOOK OVER THIS BUSINESS. IT WAS KNOWN AS BEST'S STUDIO. AND WHEN MY WIFE AND I 00:04:07.848 --> 00:04:09.648 BUSINESS. IT WAS KNOWN AS BEST'S STUDIO. AND WHEN MY WIFE AND I TOOK OVER THE BUSINESS FROM THE 00:04:09.650 --> 00:04:12.551 STUDIO. AND WHEN MY WIFE AND I TOOK OVER THE BUSINESS FROM THE FAMILY IN 1971, WE CHANGED THE 00:04:12.553 --> 00:04:14.253 TOOK OVER THE BUSINESS FROM THE FAMILY IN 1971, WE CHANGED THE NAME TO THE ANSEL ADAMS 00:04:14.255 --> 00:04:16.055 FAMILY IN 1971, WE CHANGED THE NAME TO THE ANSEL ADAMS GALLERY. AND THAT'S HOW IT IS 00:04:16.057 --> 00:04:18.624 NAME TO THE ANSEL ADAMS GALLERY. AND THAT'S HOW IT IS TODAY. PEOPLE KNOW ANSEL ADAMS. 00:04:18.626 --> 00:04:20.325 GALLERY. AND THAT'S HOW IT IS TODAY. PEOPLE KNOW ANSEL ADAMS. PEOPLE ARE NOT AWARE OF HARRY 00:04:20.327 --> 00:04:22.628 BEST. AND OF COURSE HE HAD A 00:04:22.762 --> 00:04:23.862 FINITE NUMBER OF PAINTINGS THAT 00:04:23.997 --> 00:04:24.963 ARE LONG GONE. 00:04:25.098 --> 00:04:28.334 >> RIGHT. SO, THESE OTHER PHOTOGRAPHERS AND ARTISTS WERE GOOD. 00:04:28.336 --> 00:04:29.201 PHOTOGRAPHERS AND ARTISTS WERE GOOD. >> YES. 00:04:29.203 --> 00:04:31.503 GOOD. >> YES. >> BUT ANSEL ADAMS SURVIVED. 00:04:31.505 --> 00:04:33.872 >> YES. >> BUT ANSEL ADAMS SURVIVED. >> ANSEL BECAME A VERY 00:04:33.874 --> 00:04:35.174 >> BUT ANSEL ADAMS SURVIVED. >> ANSEL BECAME A VERY WELL-KNOWN PHOTOGRAPHER. THIS 00:04:35.176 --> 00:04:37.176 >> ANSEL BECAME A VERY WELL-KNOWN PHOTOGRAPHER. THIS WAS A WONDERFUL PLACE TO LIVE. 00:04:37.178 --> 00:04:38.310 WELL-KNOWN PHOTOGRAPHER. THIS WAS A WONDERFUL PLACE TO LIVE. AND HE HAD THAT OPPORTUNITY 00:04:38.312 --> 00:04:39.445 WAS A WONDERFUL PLACE TO LIVE. AND HE HAD THAT OPPORTUNITY BECAUSE THE FAMILY HAD THE 00:04:39.447 --> 00:04:41.880 AND HE HAD THAT OPPORTUNITY BECAUSE THE FAMILY HAD THE BUSINESS HERE. HE DID A LOT OF 00:04:41.882 --> 00:04:43.449 BECAUSE THE FAMILY HAD THE BUSINESS HERE. HE DID A LOT OF WORK IN YOSEMITE AS YOU KNOW. 00:04:43.451 --> 00:04:45.351 BUSINESS HERE. HE DID A LOT OF WORK IN YOSEMITE AS YOU KNOW. AND WAS ABLE TO UTILIZE THAT IN 00:04:45.353 --> 00:04:48.253 WORK IN YOSEMITE AS YOU KNOW. AND WAS ABLE TO UTILIZE THAT IN HIS GROWTH AS A PHOTOGRAPHER AND 00:04:48.255 --> 00:04:50.289 AND WAS ABLE TO UTILIZE THAT IN HIS GROWTH AS A PHOTOGRAPHER AND BECAME WELL KNOWN FOR YOSEMITE 00:04:50.291 --> 00:04:51.623 HIS GROWTH AS A PHOTOGRAPHER AND BECAME WELL KNOWN FOR YOSEMITE AND WELL KNOWN FOR ENVIRONMENTAL 00:04:51.625 --> 00:04:54.093 BECAME WELL KNOWN FOR YOSEMITE AND WELL KNOWN FOR ENVIRONMENTAL WORK AND FOR THE WORK HE'S DONE 00:04:54.095 --> 00:04:56.028 AND WELL KNOWN FOR ENVIRONMENTAL WORK AND FOR THE WORK HE'S DONE ALL OVER THE UNITED STATES. 00:04:56.030 --> 00:04:58.697 WORK AND FOR THE WORK HE'S DONE ALL OVER THE UNITED STATES. >> OK. WE ARE INSIDE THE 00:04:58.699 --> 00:05:01.600 ALL OVER THE UNITED STATES. >> OK. WE ARE INSIDE THE GALLERY. AND, MICHAEL, WHEN YOU 00:05:01.602 --> 00:05:02.935 >> OK. WE ARE INSIDE THE GALLERY. AND, MICHAEL, WHEN YOU WALK IN, YOU ARE DRAWN 00:05:02.937 --> 00:05:05.537 GALLERY. AND, MICHAEL, WHEN YOU WALK IN, YOU ARE DRAWN IMMEDIATELY TO THIS BACK WALL 00:05:05.539 --> 00:05:07.072 WALK IN, YOU ARE DRAWN IMMEDIATELY TO THIS BACK WALL HERE WITH YOUR DAD'S NAME UP AND 00:05:07.074 --> 00:05:09.975 IMMEDIATELY TO THIS BACK WALL HERE WITH YOUR DAD'S NAME UP AND THESE BEAUTIFUL BLACK AND WHITE 00:05:09.977 --> 00:05:13.112 HERE WITH YOUR DAD'S NAME UP AND THESE BEAUTIFUL BLACK AND WHITE PHOTOGRAPHS ON DISPLAY. 00:05:13.114 --> 00:05:15.547 >> YES. THESE ARE WHAT WE CALL 00:05:15.682 --> 00:05:16.515 THE SPECIAL EDITION IMAGES. AND 00:05:16.649 --> 00:05:18.317 THEY'RE THE ONLY ANSEL ADAMS 00:05:18.451 --> 00:05:19.685 PHOTOGRAPHS TODAY THAT YOU CAN 00:05:19.819 --> 00:05:22.821 BUY THAT ARE FROM THE ORIGINAL 00:05:22.956 --> 00:05:24.223 NEGATIVE BUT PRINTED TODAY BY 00:05:24.357 --> 00:05:25.791 ALLEN ROSS, WHO'S A 00:05:25.925 --> 00:05:27.659 PHOTOGRAPHER, GOOD FRIEND OF 00:05:27.794 --> 00:05:33.165 ANSEL'S, HE WORKED FOR ANSEL OVER THE YEARS. AND HE DOES THIS SPECIAL EDITION SERIES. AND 00:05:33.167 --> 00:05:34.700 OVER THE YEARS. AND HE DOES THIS SPECIAL EDITION SERIES. AND THEY'RE ONLY AVAILABLE HERE 00:05:34.702 --> 00:05:36.802 SPECIAL EDITION SERIES. AND THEY'RE ONLY AVAILABLE HERE THROUGH THE ANSEL ADAMS GALLERY. 00:05:36.804 --> 00:05:38.470 THEY'RE ONLY AVAILABLE HERE THROUGH THE ANSEL ADAMS GALLERY. >> NOW, HOW DID YOU CHOOSE-- 00:05:38.472 --> 00:05:39.204 THROUGH THE ANSEL ADAMS GALLERY. >> NOW, HOW DID YOU CHOOSE-- WELL, FIRST OFF, HERE'S 00:05:39.206 --> 00:05:40.639 >> NOW, HOW DID YOU CHOOSE-- WELL, FIRST OFF, HERE'S A GREAT PICTURE RIGHT IN THE 00:05:40.641 --> 00:05:42.908 WELL, FIRST OFF, HERE'S A GREAT PICTURE RIGHT IN THE MIDDLE THAT KIND OF ANCHORS THE 00:05:42.910 --> 00:05:44.410 A GREAT PICTURE RIGHT IN THE MIDDLE THAT KIND OF ANCHORS THE WHOLE THING. THIS IS NOT IN 00:05:44.412 --> 00:05:45.177 MIDDLE THAT KIND OF ANCHORS THE WHOLE THING. THIS IS NOT IN YOSEMITE THOUGH. 00:05:45.179 --> 00:05:46.378 WHOLE THING. THIS IS NOT IN YOSEMITE THOUGH. >> NO. THIS IS OVER IN THE EAST 00:05:46.380 --> 00:05:47.146 YOSEMITE THOUGH. >> NO. THIS IS OVER IN THE EAST SIDE OF THE SIERRAS. 00:05:47.148 --> 00:05:47.980 >> NO. THIS IS OVER IN THE EAST SIDE OF THE SIERRAS. >> OH, IT IS. OK. 00:05:47.982 --> 00:05:49.682 SIDE OF THE SIERRAS. >> OH, IT IS. OK. >> IT'S SOUTH OF LEVINE, SOUTH 00:05:49.684 --> 00:05:50.582 >> OH, IT IS. OK. >> IT'S SOUTH OF LEVINE, SOUTH OF MONO LAKE. 00:05:50.584 --> 00:05:52.418 >> IT'S SOUTH OF LEVINE, SOUTH OF MONO LAKE. >> AND THAT'S ANSEL ON TOP OF 00:05:52.420 --> 00:05:53.786 OF MONO LAKE. >> AND THAT'S ANSEL ON TOP OF HIS OLD WOODY. 00:05:53.788 --> 00:05:55.220 >> AND THAT'S ANSEL ON TOP OF HIS OLD WOODY. >> AN OLD WOODY--AND OLD 1946 00:05:55.222 --> 00:05:57.890 HIS OLD WOODY. >> AN OLD WOODY--AND OLD 1946 PONTIAC STATION WAGON. AND JUST 00:05:57.892 --> 00:05:59.658 >> AN OLD WOODY--AND OLD 1946 PONTIAC STATION WAGON. AND JUST THAT LITTLE ELEVATION, YOU KNOW 00:05:59.660 --> 00:06:01.660 PONTIAC STATION WAGON. AND JUST THAT LITTLE ELEVATION, YOU KNOW 6 OR 8 FEET UP ON THERE MADE A 00:06:01.662 --> 00:06:02.795 THAT LITTLE ELEVATION, YOU KNOW 6 OR 8 FEET UP ON THERE MADE A HUGE DIFFERENCE IN MANY OF THE 00:06:02.797 --> 00:06:03.862 6 OR 8 FEET UP ON THERE MADE A HUGE DIFFERENCE IN MANY OF THE PHOTOGRAPHS. 00:06:03.864 --> 00:06:04.763 HUGE DIFFERENCE IN MANY OF THE PHOTOGRAPHS. >> LOOK AT THE SIZE OF THAT 00:06:04.765 --> 00:06:05.464 PHOTOGRAPHS. >> LOOK AT THE SIZE OF THAT CAMERA. 00:06:05.466 --> 00:06:07.299 >> LOOK AT THE SIZE OF THAT CAMERA. >> IT'S AN 8x10. 00:06:07.301 --> 00:06:08.667 CAMERA. >> IT'S AN 8x10. >> ALL RIGHT, NOW HOW DID YOU 00:06:08.669 --> 00:06:10.302 >> IT'S AN 8x10. >> ALL RIGHT, NOW HOW DID YOU CHOOSE--HOW MANY OF THESE DID 00:06:10.304 --> 00:06:11.270 >> ALL RIGHT, NOW HOW DID YOU CHOOSE--HOW MANY OF THESE DID YOU SAY THERE WERE? 00:06:11.272 --> 00:06:13.072 CHOOSE--HOW MANY OF THESE DID YOU SAY THERE WERE? >> WELL, THERE'S 24 AT ANY ONE 00:06:13.074 --> 00:06:14.239 YOU SAY THERE WERE? >> WELL, THERE'S 24 AT ANY ONE TIME ARE AVAILABLE. WE HAVE A 00:06:14.241 --> 00:06:16.308 >> WELL, THERE'S 24 AT ANY ONE TIME ARE AVAILABLE. WE HAVE A FEW OTHERS THAT WE CAN SHIFT IN 00:06:16.310 --> 00:06:18.043 TIME ARE AVAILABLE. WE HAVE A FEW OTHERS THAT WE CAN SHIFT IN AND OUT. BUT THESE 24 WERE 00:06:18.045 --> 00:06:20.346 FEW OTHERS THAT WE CAN SHIFT IN AND OUT. BUT THESE 24 WERE SELECTED BEING SORT OF THE 00:06:20.348 --> 00:06:22.414 AND OUT. BUT THESE 24 WERE SELECTED BEING SORT OF THE ICON PHOTOGRAPHS OF YOSEMITE 00:06:22.416 --> 00:06:24.083 SELECTED BEING SORT OF THE ICON PHOTOGRAPHS OF YOSEMITE THAT PEOPLE RECOGNIZE AND THAT 00:06:24.085 --> 00:06:25.984 ICON PHOTOGRAPHS OF YOSEMITE THAT PEOPLE RECOGNIZE AND THAT ANSEL THOUGHT A LOT OF AND THAT 00:06:25.986 --> 00:06:29.521 THAT PEOPLE RECOGNIZE AND THAT ANSEL THOUGHT A LOT OF AND THAT ARE SALE-ABLE IN A SENSE, THAT 00:06:29.523 --> 00:06:31.390 ANSEL THOUGHT A LOT OF AND THAT ARE SALE-ABLE IN A SENSE, THAT PEOPLE REALLY ENJOY HAVING ON 00:06:31.392 --> 00:06:32.024 ARE SALE-ABLE IN A SENSE, THAT PEOPLE REALLY ENJOY HAVING ON THEIR WALL. 00:06:32.026 --> 00:06:32.991 PEOPLE REALLY ENJOY HAVING ON THEIR WALL. >> AND IT JUST PROVES THAT 00:06:32.993 --> 00:06:34.493 THEIR WALL. >> AND IT JUST PROVES THAT THEY'RE TIMELESS. THEY'RE 00:06:34.495 --> 00:06:36.962 >> AND IT JUST PROVES THAT THEY'RE TIMELESS. THEY'RE AGELESS IN THEIR BEAUTY. 00:06:36.964 --> 00:06:38.030 THEY'RE TIMELESS. THEY'RE AGELESS IN THEIR BEAUTY. >> THEY CERTAINLY ARE. 00:06:38.032 --> 00:06:39.131 AGELESS IN THEIR BEAUTY. >> THEY CERTAINLY ARE. AND I HOPE TODAY 00:06:39.133 --> 00:06:40.632 >> THEY CERTAINLY ARE. AND I HOPE TODAY AS WE GO AROUND THE VALLEY, WE 00:06:40.634 --> 00:06:41.700 AND I HOPE TODAY AS WE GO AROUND THE VALLEY, WE WILL SEE SOME OF THESE SIGHTS AS 00:06:41.702 --> 00:06:43.836 AS WE GO AROUND THE VALLEY, WE WILL SEE SOME OF THESE SIGHTS AS WE MOVE AROUND. AND YOU'LL SEE 00:06:43.838 --> 00:06:46.772 WILL SEE SOME OF THESE SIGHTS AS WE MOVE AROUND. AND YOU'LL SEE THESE IMAGES--AT A LITTLE 00:06:46.774 --> 00:06:48.040 WE MOVE AROUND. AND YOU'LL SEE THESE IMAGES--AT A LITTLE DIFFERENT PERSPECTIVE. 00:06:48.042 --> 00:06:50.509 THESE IMAGES--AT A LITTLE DIFFERENT PERSPECTIVE. >> YEAH. BECAUSE THAT IS WHAT 00:06:50.511 --> 00:06:52.444 DIFFERENT PERSPECTIVE. >> YEAH. BECAUSE THAT IS WHAT THIS ADVENTURE IS REALLY ALL 00:06:52.446 --> 00:06:54.346 >> YEAH. BECAUSE THAT IS WHAT THIS ADVENTURE IS REALLY ALL ABOUT. WE ARE GETTING READY TO 00:06:54.348 --> 00:06:57.583 THIS ADVENTURE IS REALLY ALL ABOUT. WE ARE GETTING READY TO LEAVE THE GALLERY AND ACTUALLY 00:06:57.585 --> 00:07:01.286 ABOUT. WE ARE GETTING READY TO LEAVE THE GALLERY AND ACTUALLY GO OUT INTO YOSEMITE ITSELF AND 00:07:01.288 --> 00:07:04.223 LEAVE THE GALLERY AND ACTUALLY GO OUT INTO YOSEMITE ITSELF AND VISIT SOME OF THE ACTUAL PLACES 00:07:04.225 --> 00:07:08.027 GO OUT INTO YOSEMITE ITSELF AND VISIT SOME OF THE ACTUAL PLACES THAT ANSEL ADAMS STOOD WITH HIS 00:07:08.029 --> 00:07:10.996 VISIT SOME OF THE ACTUAL PLACES THAT ANSEL ADAMS STOOD WITH HIS CAMERA TO PHOTOGRAPH, TO CAPTURE 00:07:10.998 --> 00:07:13.666 THAT ANSEL ADAMS STOOD WITH HIS CAMERA TO PHOTOGRAPH, TO CAPTURE SOME OF THESE ICONIC, WONDERFUL, 00:07:13.668 --> 00:07:16.235 CAMERA TO PHOTOGRAPH, TO CAPTURE SOME OF THESE ICONIC, WONDERFUL, BEAUTIFUL PICTURES OF YOSEMITE 00:07:16.237 --> 00:07:17.903 SOME OF THESE ICONIC, WONDERFUL, BEAUTIFUL PICTURES OF YOSEMITE NATIONAL PARK. THIS IS JUST THE 00:07:17.905 --> 00:07:19.772 BEAUTIFUL PICTURES OF YOSEMITE NATIONAL PARK. THIS IS JUST THE BEGINNING. THE REAL ADVENTURE IS 00:07:19.774 --> 00:07:22.207 NATIONAL PARK. THIS IS JUST THE BEGINNING. THE REAL ADVENTURE IS YET TO COME. 00:07:22.209 --> 00:07:23.942 BEGINNING. THE REAL ADVENTURE IS YET TO COME. WELL, AS WE START OUR YOSEMITE 00:07:23.944 --> 00:07:25.811 YET TO COME. WELL, AS WE START OUR YOSEMITE ADVENTURE, WE DIDN'T HAVE TO 00:07:25.813 --> 00:07:27.346 WELL, AS WE START OUR YOSEMITE ADVENTURE, WE DIDN'T HAVE TO COME VERY FAR. WE'RE JUST ABOUT 00:07:27.348 --> 00:07:29.014 ADVENTURE, WE DIDN'T HAVE TO COME VERY FAR. WE'RE JUST ABOUT A HALF A MILE FROM THE ANSEL 00:07:29.016 --> 00:07:30.716 COME VERY FAR. WE'RE JUST ABOUT A HALF A MILE FROM THE ANSEL ADAMS GALLERY. WE'RE STILL ON 00:07:30.718 --> 00:07:34.019 A HALF A MILE FROM THE ANSEL ADAMS GALLERY. WE'RE STILL ON THE YOSEMITE VALLEY FLOOR. AND 00:07:34.021 --> 00:07:37.256 ADAMS GALLERY. WE'RE STILL ON THE YOSEMITE VALLEY FLOOR. AND THERE IT IS, MICHAEL, HALF DOME. 00:07:37.258 --> 00:07:39.591 THE YOSEMITE VALLEY FLOOR. AND THERE IT IS, MICHAEL, HALF DOME. AND WE COULD SPEND THE WHOLE DAY 00:07:39.593 --> 00:07:41.360 THERE IT IS, MICHAEL, HALF DOME. AND WE COULD SPEND THE WHOLE DAY HERE BECAUSE ANSEL LOVED THIS 00:07:41.362 --> 00:07:43.262 AND WE COULD SPEND THE WHOLE DAY HERE BECAUSE ANSEL LOVED THIS PLACE RIGHT HERE. 00:07:43.264 --> 00:07:45.030 HERE BECAUSE ANSEL LOVED THIS PLACE RIGHT HERE. >> WE CAN CERTAINLY DO THAT. 00:07:45.032 --> 00:07:46.231 PLACE RIGHT HERE. >> WE CAN CERTAINLY DO THAT. THIS IS AHWAHNEE MEADOW. 00:07:46.233 --> 00:07:48.100 >> WE CAN CERTAINLY DO THAT. THIS IS AHWAHNEE MEADOW. AND THERE ARE MANY 00:07:48.102 --> 00:07:49.001 THIS IS AHWAHNEE MEADOW. AND THERE ARE MANY OF HIS PHOTOGRAPHS THAT 00:07:49.003 --> 00:07:50.669 AND THERE ARE MANY OF HIS PHOTOGRAPHS THAT TAKEN RIGHT FROM THIS SITE. 00:07:50.671 --> 00:07:52.237 OF HIS PHOTOGRAPHS THAT TAKEN RIGHT FROM THIS SITE. >> RIGHT FROM HERE? 00:07:52.239 --> 00:07:53.739 TAKEN RIGHT FROM THIS SITE. >> RIGHT FROM HERE? >> I'M NOT SURE IF I CAN 00:07:53.741 --> 00:07:55.040 >> RIGHT FROM HERE? >> I'M NOT SURE IF I CAN FIND THE TRIPOD HOLES, 00:07:55.042 --> 00:07:56.475 >> I'M NOT SURE IF I CAN FIND THE TRIPOD HOLES, BUT THEY'RE NOT TOO FAR AWAY. 00:07:56.477 --> 00:07:58.377 FIND THE TRIPOD HOLES, BUT THEY'RE NOT TOO FAR AWAY. BUT PICTURES OF HALF DOME, 00:07:58.379 --> 00:08:00.479 BUT THEY'RE NOT TOO FAR AWAY. BUT PICTURES OF HALF DOME, PICTURES OF GLACIER POINT FROM 00:08:00.481 --> 00:08:04.616 BUT PICTURES OF HALF DOME, PICTURES OF GLACIER POINT FROM THIS SITE ARE WELL KNOWN OF HIS. 00:08:04.618 --> 00:08:06.318 PICTURES OF GLACIER POINT FROM THIS SITE ARE WELL KNOWN OF HIS. ALSO WASHINGTON COLUMN AND THE 00:08:06.320 --> 00:08:08.153 THIS SITE ARE WELL KNOWN OF HIS. ALSO WASHINGTON COLUMN AND THE ROYAL ARCHES. THERE'S A ROYAL 00:08:08.155 --> 00:08:09.488 ALSO WASHINGTON COLUMN AND THE ROYAL ARCHES. THERE'S A ROYAL ARCH FALLS THERE THAT'S NOT 00:08:09.490 --> 00:08:10.556 ROYAL ARCHES. THERE'S A ROYAL ARCH FALLS THERE THAT'S NOT FLOWING RIGHT NOW. 00:08:10.558 --> 00:08:13.459 ARCH FALLS THERE THAT'S NOT FLOWING RIGHT NOW. >> SO, DO YOU THINK HE JUST--DID 00:08:13.461 --> 00:08:16.395 FLOWING RIGHT NOW. >> SO, DO YOU THINK HE JUST--DID HE EXPLORE YOSEMITE VALLEY AND 00:08:16.397 --> 00:08:18.464 >> SO, DO YOU THINK HE JUST--DID HE EXPLORE YOSEMITE VALLEY AND THEN JUST KIND OF IN HIS OWN 00:08:18.466 --> 00:08:19.999 HE EXPLORE YOSEMITE VALLEY AND THEN JUST KIND OF IN HIS OWN MIND DECIDE WHERE THE BEST 00:08:20.001 --> 00:08:21.333 THEN JUST KIND OF IN HIS OWN MIND DECIDE WHERE THE BEST PLACES WERE? 00:08:21.335 --> 00:08:22.434 MIND DECIDE WHERE THE BEST PLACES WERE? >> HE EXPLORED YOSEMITE 00:08:22.436 --> 00:08:23.736 PLACES WERE? >> HE EXPLORED YOSEMITE VALLEY FROM THE FIRST YEAR HE 00:08:23.738 --> 00:08:26.538 >> HE EXPLORED YOSEMITE VALLEY FROM THE FIRST YEAR HE GOT HERE IN 1916. AND HE KNEW IT 00:08:26.540 --> 00:08:28.607 VALLEY FROM THE FIRST YEAR HE GOT HERE IN 1916. AND HE KNEW IT VERY INTIMATELY. AND WHEN HE 00:08:28.609 --> 00:08:29.908 GOT HERE IN 1916. AND HE KNEW IT VERY INTIMATELY. AND WHEN HE BECAME MORE INTERESTED IN THE 00:08:29.910 --> 00:08:31.410 VERY INTIMATELY. AND WHEN HE BECAME MORE INTERESTED IN THE PHOTOGRAPHY SIDE OF IT, HE KNEW 00:08:31.412 --> 00:08:33.479 BECAME MORE INTERESTED IN THE PHOTOGRAPHY SIDE OF IT, HE KNEW WHERE TO GO AND HE KNEW WHAT HE 00:08:33.481 --> 00:08:35.247 PHOTOGRAPHY SIDE OF IT, HE KNEW WHERE TO GO AND HE KNEW WHAT HE WAS INTERESTED IN. AND IT WASN'T 00:08:35.249 --> 00:08:36.682 WHERE TO GO AND HE KNEW WHAT HE WAS INTERESTED IN. AND IT WASN'T JUST THE HUGE MOUNTAINS. IT WAS 00:08:36.684 --> 00:08:39.218 WAS INTERESTED IN. AND IT WASN'T JUST THE HUGE MOUNTAINS. IT WAS ALSO THE MINUTIA. HE HAS SOME 00:08:39.220 --> 00:08:40.719 JUST THE HUGE MOUNTAINS. IT WAS ALSO THE MINUTIA. HE HAS SOME WONDERFUL IMAGES OF JUST GRASS 00:08:40.721 --> 00:08:43.188 ALSO THE MINUTIA. HE HAS SOME WONDERFUL IMAGES OF JUST GRASS AND A ROCK AND OF LICHEN AND 00:08:43.190 --> 00:08:44.456 WONDERFUL IMAGES OF JUST GRASS AND A ROCK AND OF LICHEN AND THINGS THAT WERE INTIMATE BUT 00:08:44.458 --> 00:08:46.825 AND A ROCK AND OF LICHEN AND THINGS THAT WERE INTIMATE BUT VERY IMPORTANT TO HIM. 00:08:46.827 --> 00:08:48.527 THINGS THAT WERE INTIMATE BUT VERY IMPORTANT TO HIM. >> BUT AS FAR AS HALF DOME 00:08:48.529 --> 00:08:49.728 VERY IMPORTANT TO HIM. >> BUT AS FAR AS HALF DOME GOES--AND BOY THAT'S A MASSIVE 00:08:49.730 --> 00:08:52.464 >> BUT AS FAR AS HALF DOME GOES--AND BOY THAT'S A MASSIVE PHOTOGRAPH THERE--HE FIGURED OUT 00:08:52.466 --> 00:08:53.899 GOES--AND BOY THAT'S A MASSIVE PHOTOGRAPH THERE--HE FIGURED OUT THE RIGHT--NOW, THIS WOULDN'T 00:08:53.901 --> 00:08:55.701 PHOTOGRAPH THERE--HE FIGURED OUT THE RIGHT--NOW, THIS WOULDN'T NECESSARILY BE THE RIGHT TIME OF 00:08:55.703 --> 00:08:57.202 THE RIGHT--NOW, THIS WOULDN'T NECESSARILY BE THE RIGHT TIME OF DAY. BUT YOU SAID IN CERTAIN 00:08:57.204 --> 00:08:58.637 NECESSARILY BE THE RIGHT TIME OF DAY. BUT YOU SAID IN CERTAIN WEATHER CONDITIONS IT MIGHT BE 00:08:58.639 --> 00:09:00.105 DAY. BUT YOU SAID IN CERTAIN WEATHER CONDITIONS IT MIGHT BE THE RIGHT TIME OF THE DAY. 00:09:00.107 --> 00:09:01.240 WEATHER CONDITIONS IT MIGHT BE THE RIGHT TIME OF THE DAY. >> NORMALLY, HALF DOME WOULD BE 00:09:01.242 --> 00:09:03.308 THE RIGHT TIME OF THE DAY. >> NORMALLY, HALF DOME WOULD BE AN AFTERNOON SHOT WITH THE LIGHT 00:09:03.310 --> 00:09:05.244 >> NORMALLY, HALF DOME WOULD BE AN AFTERNOON SHOT WITH THE LIGHT ON THE DOME. BUT, YOU KNOW, A 00:09:05.246 --> 00:09:07.546 AN AFTERNOON SHOT WITH THE LIGHT ON THE DOME. BUT, YOU KNOW, A SNOWSTORM DAY HE COULD BE HERE 00:09:07.548 --> 00:09:08.881 ON THE DOME. BUT, YOU KNOW, A SNOWSTORM DAY HE COULD BE HERE EARLY IN THE MORNING. IT'S A 00:09:08.883 --> 00:09:12.151 SNOWSTORM DAY HE COULD BE HERE EARLY IN THE MORNING. IT'S A FASCINATING AREA. RAIN, SNOW, IT 00:09:12.153 --> 00:09:14.486 EARLY IN THE MORNING. IT'S A FASCINATING AREA. RAIN, SNOW, IT DOESN'T TAKE THE END OF THE DAY 00:09:14.488 --> 00:09:16.588 FASCINATING AREA. RAIN, SNOW, IT DOESN'T TAKE THE END OF THE DAY TO GET IT. IT COULD OCCUR ANY 00:09:16.590 --> 00:09:17.656 DOESN'T TAKE THE END OF THE DAY TO GET IT. IT COULD OCCUR ANY TIME, A GOOD TIME. 00:09:17.658 --> 00:09:19.358 TO GET IT. IT COULD OCCUR ANY TIME, A GOOD TIME. >> BUT A LOT OF HIS PHOTOGRAPHS, 00:09:19.360 --> 00:09:20.626 TIME, A GOOD TIME. >> BUT A LOT OF HIS PHOTOGRAPHS, REALLY THE POWER OF HIS 00:09:20.628 --> 00:09:24.163 >> BUT A LOT OF HIS PHOTOGRAPHS, REALLY THE POWER OF HIS PHOTOGRAPHS DEPENDED UPON LIGHT. 00:09:24.165 --> 00:09:26.198 REALLY THE POWER OF HIS PHOTOGRAPHS DEPENDED UPON LIGHT. >> ABSOLUTELY. AND HE WOULD 00:09:26.200 --> 00:09:27.333 PHOTOGRAPHS DEPENDED UPON LIGHT. >> ABSOLUTELY. AND HE WOULD PROBABLY TELL YOU THAT 00:09:27.335 --> 00:09:30.035 >> ABSOLUTELY. AND HE WOULD PROBABLY TELL YOU THAT IMMEDIATELY. AND THE LIGHT WAS 00:09:30.037 --> 00:09:31.670 PROBABLY TELL YOU THAT IMMEDIATELY. AND THE LIGHT WAS WHAT HE WAS VERY MUCH AWARE OF 00:09:31.672 --> 00:09:33.806 IMMEDIATELY. AND THE LIGHT WAS WHAT HE WAS VERY MUCH AWARE OF AND KNEW THE BEST TIMES TO GET 00:09:33.808 --> 00:09:36.141 WHAT HE WAS VERY MUCH AWARE OF AND KNEW THE BEST TIMES TO GET LIGHT IN VARIOUS SITES AROUND 00:09:36.143 --> 00:09:37.109 AND KNEW THE BEST TIMES TO GET LIGHT IN VARIOUS SITES AROUND THE PARK HERE. 00:09:37.111 --> 00:09:38.277 LIGHT IN VARIOUS SITES AROUND THE PARK HERE. >> AND OF COURSE YOSEMITE IS SO 00:09:38.279 --> 00:09:40.546 THE PARK HERE. >> AND OF COURSE YOSEMITE IS SO RICH IN LIGHTING. THE WAY IT 00:09:40.548 --> 00:09:43.048 >> AND OF COURSE YOSEMITE IS SO RICH IN LIGHTING. THE WAY IT CHANGES WITH THE LIGHTING. 00:09:43.050 --> 00:09:45.417 RICH IN LIGHTING. THE WAY IT CHANGES WITH THE LIGHTING. >> MUIR TALKED ABOUT THE RANGE 00:09:45.419 --> 00:09:47.453 CHANGES WITH THE LIGHTING. >> MUIR TALKED ABOUT THE RANGE OF LIGHT, WHICH IS THE SIERRA 00:09:47.455 --> 00:09:49.154 >> MUIR TALKED ABOUT THE RANGE OF LIGHT, WHICH IS THE SIERRA NEVADA. AND YOSEMITE IS JUST ONE 00:09:49.156 --> 00:09:50.656 OF LIGHT, WHICH IS THE SIERRA NEVADA. AND YOSEMITE IS JUST ONE ELEMENT OF THAT. 00:09:50.658 --> 00:09:51.957 NEVADA. AND YOSEMITE IS JUST ONE ELEMENT OF THAT. >> NOW ONE OF THE REASONS WE'RE 00:09:51.959 --> 00:09:54.827 ELEMENT OF THAT. >> NOW ONE OF THE REASONS WE'RE STARTING OFF HERE. THIS SHOT 00:09:54.829 --> 00:09:56.328 >> NOW ONE OF THE REASONS WE'RE STARTING OFF HERE. THIS SHOT RIGHT HERE, THIS IS YOUR 00:09:56.330 --> 00:09:58.797 STARTING OFF HERE. THIS SHOT RIGHT HERE, THIS IS YOUR FAVORITE PICTURE THAT HE EVER 00:09:58.799 --> 00:10:00.065 RIGHT HERE, THIS IS YOUR FAVORITE PICTURE THAT HE EVER PHOTOGRAPHED, THAT HE EVER TOOK. 00:10:00.067 --> 00:10:02.267 FAVORITE PICTURE THAT HE EVER PHOTOGRAPHED, THAT HE EVER TOOK. >> THIS WAS PROBABLY ONE OF OUR 00:10:02.269 --> 00:10:04.136 PHOTOGRAPHED, THAT HE EVER TOOK. >> THIS WAS PROBABLY ONE OF OUR FAVORITES. AND DEFINITELY, I 00:10:04.138 --> 00:10:05.371 >> THIS WAS PROBABLY ONE OF OUR FAVORITES. AND DEFINITELY, I HAVE TO SAY MY FAVORITE. IN 00:10:05.373 --> 00:10:07.172 FAVORITES. AND DEFINITELY, I HAVE TO SAY MY FAVORITE. IN 1960, HE TOOK A PICTURE OF HALF 00:10:07.174 --> 00:10:09.241 HAVE TO SAY MY FAVORITE. IN 1960, HE TOOK A PICTURE OF HALF DOME WITH A MOON COMING UP ON 00:10:09.243 --> 00:10:10.743 1960, HE TOOK A PICTURE OF HALF DOME WITH A MOON COMING UP ON THE LEFT SIDE OF IT. 00:10:10.745 --> 00:10:12.044 DOME WITH A MOON COMING UP ON THE LEFT SIDE OF IT. >> IT ACTUALLY WAS ENTITLED... 00:10:12.046 --> 00:10:13.979 THE LEFT SIDE OF IT. >> IT ACTUALLY WAS ENTITLED... >> "MOON AND HALF DOME." BUT 00:10:13.981 --> 00:10:16.048 >> IT ACTUALLY WAS ENTITLED... >> "MOON AND HALF DOME." BUT THAT PICTURE SAW THE LIGHT OF 00:10:16.050 --> 00:10:17.683 >> "MOON AND HALF DOME." BUT THAT PICTURE SAW THE LIGHT OF DAY FOR THE FIRST TIME IN OUR 00:10:17.685 --> 00:10:20.019 THAT PICTURE SAW THE LIGHT OF DAY FOR THE FIRST TIME IN OUR WEDDING ANNOUNCEMENT IN 1962. 00:10:20.021 --> 00:10:21.687 DAY FOR THE FIRST TIME IN OUR WEDDING ANNOUNCEMENT IN 1962. >> REALLY? IT HAD NEVER BEEN 00:10:21.689 --> 00:10:22.421 WEDDING ANNOUNCEMENT IN 1962. >> REALLY? IT HAD NEVER BEEN PUBLISHED? 00:10:22.423 --> 00:10:24.623 >> REALLY? IT HAD NEVER BEEN PUBLISHED? >> HAD NOT BEEN SEEN BY THE 00:10:24.625 --> 00:10:25.791 PUBLISHED? >> HAD NOT BEEN SEEN BY THE PUBLIC. IT BECAME ONE OF THE 00:10:25.793 --> 00:10:27.459 >> HAD NOT BEEN SEEN BY THE PUBLIC. IT BECAME ONE OF THE MORE POPULAR IMAGES, WHICH WE 00:10:27.461 --> 00:10:29.194 PUBLIC. IT BECAME ONE OF THE MORE POPULAR IMAGES, WHICH WE CAN UNDERSTAND. 00:10:29.196 --> 00:10:30.629 MORE POPULAR IMAGES, WHICH WE CAN UNDERSTAND. >> AND YOU CHOSE THAT FOR YOUR 00:10:30.631 --> 00:10:31.930 CAN UNDERSTAND. >> AND YOU CHOSE THAT FOR YOUR WEDDING-- 00:10:31.932 --> 00:10:33.165 >> AND YOU CHOSE THAT FOR YOUR WEDDING-- >> OUR WEDDING ANNOUNCEMENT. SO, 00:10:33.167 --> 00:10:35.334 WEDDING-- >> OUR WEDDING ANNOUNCEMENT. SO, WE WERE EXCITED WITH IT. AND WE 00:10:35.336 --> 00:10:38.237 >> OUR WEDDING ANNOUNCEMENT. SO, WE WERE EXCITED WITH IT. AND WE ALWAYS THINK OF THAT AS 00:10:38.239 --> 00:10:40.239 WE WERE EXCITED WITH IT. AND WE ALWAYS THINK OF THAT AS PROBABLY OUR FAVORITE IMAGE. 00:10:40.241 --> 00:10:41.974 ALWAYS THINK OF THAT AS PROBABLY OUR FAVORITE IMAGE. >> AND STANDING HERE YOU ALSO 00:10:41.976 --> 00:10:44.743 PROBABLY OUR FAVORITE IMAGE. >> AND STANDING HERE YOU ALSO HAVE A GREAT STORY ABOUT THE 00:10:44.745 --> 00:10:47.379 >> AND STANDING HERE YOU ALSO HAVE A GREAT STORY ABOUT THE HEIGHTS HE WOULD GO TO LITERALLY 00:10:47.381 --> 00:10:49.114 HAVE A GREAT STORY ABOUT THE HEIGHTS HE WOULD GO TO LITERALLY AND FIGURATIVELY TO GET ONE OF 00:10:49.116 --> 00:10:50.616 HEIGHTS HE WOULD GO TO LITERALLY AND FIGURATIVELY TO GET ONE OF HIS PHOTOGRAPHS. AND YOU CAN 00:10:50.618 --> 00:10:52.017 AND FIGURATIVELY TO GET ONE OF HIS PHOTOGRAPHS. AND YOU CAN REALLY SEE IT FROM HERE. 00:10:52.019 --> 00:10:54.353 HIS PHOTOGRAPHS. AND YOU CAN REALLY SEE IT FROM HERE. >> YES. AND PROBABLY ONE OF HIS 00:10:54.355 --> 00:10:55.921 REALLY SEE IT FROM HERE. >> YES. AND PROBABLY ONE OF HIS MOST FAMOUS IMAGES WAS ONE HE 00:10:55.923 --> 00:10:57.623 >> YES. AND PROBABLY ONE OF HIS MOST FAMOUS IMAGES WAS ONE HE TOOK IN 1927. HE ENTITLED IT 00:10:57.625 --> 00:10:59.258 MOST FAMOUS IMAGES WAS ONE HE TOOK IN 1927. HE ENTITLED IT "MONOLITH" WHICH WAS THE FACE OF 00:10:59.260 --> 00:11:00.793 TOOK IN 1927. HE ENTITLED IT "MONOLITH" WHICH WAS THE FACE OF HALF DOME TAKEN FROM THAT 00:11:00.795 --> 00:11:02.061 "MONOLITH" WHICH WAS THE FACE OF HALF DOME TAKEN FROM THAT RIDGELINE. 00:11:02.063 --> 00:11:03.929 HALF DOME TAKEN FROM THAT RIDGELINE. >> SO, HE WOULD BE ALL THE WAY 00:11:03.931 --> 00:11:05.597 RIDGELINE. >> SO, HE WOULD BE ALL THE WAY UP TO THE TOP HERE AND WAS 00:11:05.599 --> 00:11:07.933 >> SO, HE WOULD BE ALL THE WAY UP TO THE TOP HERE AND WAS PHOTOGRAPHING THE SIDE OF HALF 00:11:07.935 --> 00:11:09.134 UP TO THE TOP HERE AND WAS PHOTOGRAPHING THE SIDE OF HALF DOME. 00:11:09.136 --> 00:11:11.904 PHOTOGRAPHING THE SIDE OF HALF DOME. >> AND THIS 1927 EPISODE, THEY 00:11:11.906 --> 00:11:14.606 DOME. >> AND THIS 1927 EPISODE, THEY CLIMBED UP THE LOCAN GULLY, 00:11:14.608 --> 00:11:16.475 >> AND THIS 1927 EPISODE, THEY CLIMBED UP THE LOCAN GULLY, WHICH IS JUST BETWEEN THAT POINT 00:11:16.477 --> 00:11:17.976 CLIMBED UP THE LOCAN GULLY, WHICH IS JUST BETWEEN THAT POINT THERE--GRIZZLY PEAK--AND THE 00:11:17.978 --> 00:11:20.279 WHICH IS JUST BETWEEN THAT POINT THERE--GRIZZLY PEAK--AND THE RIDGE. AND THEN ON UP THE RIDGE. 00:11:20.281 --> 00:11:22.514 THERE--GRIZZLY PEAK--AND THE RIDGE. AND THEN ON UP THE RIDGE. AND HE HAD GLASS PLATES WITH 00:11:22.516 --> 00:11:24.683 RIDGE. AND THEN ON UP THE RIDGE. AND HE HAD GLASS PLATES WITH HIM. AND HIS NEXT TO LAST GLASS 00:11:24.685 --> 00:11:27.152 AND HE HAD GLASS PLATES WITH HIM. AND HIS NEXT TO LAST GLASS PLATE HE PUT A YELLOW FILTER ON, 00:11:27.154 --> 00:11:29.488 HIM. AND HIS NEXT TO LAST GLASS PLATE HE PUT A YELLOW FILTER ON, TOOK THE PICTURE, REALIZED HE 00:11:29.490 --> 00:11:30.756 PLATE HE PUT A YELLOW FILTER ON, TOOK THE PICTURE, REALIZED HE WASN'T GOING TO GET WHAT HE 00:11:30.758 --> 00:11:33.058 TOOK THE PICTURE, REALIZED HE WASN'T GOING TO GET WHAT HE REALLY WANTED. SO, HE CHANGED TO 00:11:33.060 --> 00:11:36.061 WASN'T GOING TO GET WHAT HE REALLY WANTED. SO, HE CHANGED TO A RED FILTER. AND THE IMAGE IS A 00:11:36.063 --> 00:11:39.031 REALLY WANTED. SO, HE CHANGED TO A RED FILTER. AND THE IMAGE IS A STUNNING THING. IT ALSO WAS HIS 00:11:39.033 --> 00:11:41.567 A RED FILTER. AND THE IMAGE IS A STUNNING THING. IT ALSO WAS HIS COMMENT AND HIS DECISION THAT 00:11:41.569 --> 00:11:43.802 STUNNING THING. IT ALSO WAS HIS COMMENT AND HIS DECISION THAT THAT PROBABLY WAS THE TIME WHEN 00:11:43.804 --> 00:11:45.938 COMMENT AND HIS DECISION THAT THAT PROBABLY WAS THE TIME WHEN HE DECIDED PHOTOGRAPHY WAS GOING 00:11:45.940 --> 00:11:46.839 THAT PROBABLY WAS THE TIME WHEN HE DECIDED PHOTOGRAPHY WAS GOING TO BE HIS CAREER. HE KNEW 00:11:46.841 --> 00:11:48.841 HE DECIDED PHOTOGRAPHY WAS GOING TO BE HIS CAREER. HE KNEW WHAT HE COULD GET. HE KNEW HOW 00:11:48.843 --> 00:11:50.943 TO BE HIS CAREER. HE KNEW WHAT HE COULD GET. HE KNEW HOW TO GET IT IN A PHOTOGRAPH. AND 00:11:50.945 --> 00:11:52.511 WHAT HE COULD GET. HE KNEW HOW TO GET IT IN A PHOTOGRAPH. AND THAT WAS KIND OF THE 00:11:52.513 --> 00:11:54.947 TO GET IT IN A PHOTOGRAPH. AND THAT WAS KIND OF THE CHANGE--1927. NOW, HE DIDN'T 00:11:54.949 --> 00:11:56.115 THAT WAS KIND OF THE CHANGE--1927. NOW, HE DIDN'T REALLY GO INTO PHOTOGRAPHY 00:11:56.117 --> 00:11:58.017 CHANGE--1927. NOW, HE DIDN'T REALLY GO INTO PHOTOGRAPHY FULLTIME FOR A FEW MORE YEARS. 00:11:58.019 --> 00:11:59.318 REALLY GO INTO PHOTOGRAPHY FULLTIME FOR A FEW MORE YEARS. BUT THAT WAS WHERE HE RECOGNIZED 00:11:59.320 --> 00:12:02.554 FULLTIME FOR A FEW MORE YEARS. BUT THAT WAS WHERE HE RECOGNIZED THAT HE COULD VISUALIZE WHAT HE 00:12:02.556 --> 00:12:03.889 BUT THAT WAS WHERE HE RECOGNIZED THAT HE COULD VISUALIZE WHAT HE WANTED IN THE FINAL IMAGE 00:12:03.891 --> 00:12:06.325 THAT HE COULD VISUALIZE WHAT HE WANTED IN THE FINAL IMAGE ON THAT PARTICULAR PHOTOGRAPH. 00:12:06.327 --> 00:12:07.893 WANTED IN THE FINAL IMAGE ON THAT PARTICULAR PHOTOGRAPH. >> AND I'LL TELL YOU, THE OTHER 00:12:07.895 --> 00:12:09.161 ON THAT PARTICULAR PHOTOGRAPH. >> AND I'LL TELL YOU, THE OTHER PART OF THAT STORY THOUGH IS 00:12:09.163 --> 00:12:11.230 >> AND I'LL TELL YOU, THE OTHER PART OF THAT STORY THOUGH IS JUST THE LENGTHS HE WOULD GO 00:12:11.232 --> 00:12:13.999 PART OF THAT STORY THOUGH IS JUST THE LENGTHS HE WOULD GO TO--HE HIKED UP ALL OF THESE 00:12:14.001 --> 00:12:14.867 JUST THE LENGTHS HE WOULD GO TO--HE HIKED UP ALL OF THESE PLACES. 00:12:14.869 --> 00:12:16.335 TO--HE HIKED UP ALL OF THESE PLACES. >> ESPECIALLY SO BECAUSE THERE 00:12:16.337 --> 00:12:17.670 PLACES. >> ESPECIALLY SO BECAUSE THERE WAS SNOW IN THAT CANYON. THERE 00:12:17.672 --> 00:12:18.904 >> ESPECIALLY SO BECAUSE THERE WAS SNOW IN THAT CANYON. THERE WAS A LOT OF SNOW UP ON THAT 00:12:18.906 --> 00:12:20.673 WAS SNOW IN THAT CANYON. THERE WAS A LOT OF SNOW UP ON THAT AREA. AND THE PICTURE'S TAKEN 00:12:20.675 --> 00:12:23.108 WAS A LOT OF SNOW UP ON THAT AREA. AND THE PICTURE'S TAKEN FROM THAT PARTICULAR TRIP. I 00:12:23.110 --> 00:12:24.777 AREA. AND THE PICTURE'S TAKEN FROM THAT PARTICULAR TRIP. I WOULDN'T WANT TO BE UP THERE IN 00:12:24.779 --> 00:12:26.478 FROM THAT PARTICULAR TRIP. I WOULDN'T WANT TO BE UP THERE IN TENNIS SHOES AND THIS KIND OF 00:12:26.480 --> 00:12:27.846 WOULDN'T WANT TO BE UP THERE IN TENNIS SHOES AND THIS KIND OF THING THE WAY THEY WERE WALKING. 00:12:27.848 --> 00:12:30.516 TENNIS SHOES AND THIS KIND OF THING THE WAY THEY WERE WALKING. >> HE WAS NOT AIR LIFTED. HE WAS 00:12:30.518 --> 00:12:32.151 THING THE WAY THEY WERE WALKING. >> HE WAS NOT AIR LIFTED. HE WAS NOT DRIVEN BY CHAUFFER 00:12:32.153 --> 00:12:33.052 >> HE WAS NOT AIR LIFTED. HE WAS NOT DRIVEN BY CHAUFFER LIMOUSINE. 00:12:33.054 --> 00:12:33.886 NOT DRIVEN BY CHAUFFER LIMOUSINE. >> NOT AT ALL. 00:12:33.888 --> 00:12:35.154 LIMOUSINE. >> NOT AT ALL. >> WAS IT HORSEBACK? 00:12:35.156 --> 00:12:37.289 >> NOT AT ALL. >> WAS IT HORSEBACK? >> NO. IT WAS HIS OWN 2 FEET. 00:12:37.291 --> 00:12:39.224 >> WAS IT HORSEBACK? >> NO. IT WAS HIS OWN 2 FEET. >> HE WOULD WALK IT, CARRYING 00:12:39.226 --> 00:12:41.060 >> NO. IT WAS HIS OWN 2 FEET. >> HE WOULD WALK IT, CARRYING THAT BIG CAMERA? 00:12:41.062 --> 00:12:42.428 >> HE WOULD WALK IT, CARRYING THAT BIG CAMERA? >> IN THAT CASE HE WAS. LATER 00:12:42.430 --> 00:12:44.329 THAT BIG CAMERA? >> IN THAT CASE HE WAS. LATER ON, WHEN HE WAS IN THE 00:12:44.331 --> 00:12:45.931 >> IN THAT CASE HE WAS. LATER ON, WHEN HE WAS IN THE BACKCOUNTRY, HE USED BURROS TO 00:12:45.933 --> 00:12:47.299 ON, WHEN HE WAS IN THE BACKCOUNTRY, HE USED BURROS TO CARRY THE CAMERAS. 00:12:47.301 --> 00:12:49.968 BACKCOUNTRY, HE USED BURROS TO CARRY THE CAMERAS. >> OK. NEXT STOP. WE'VE JUST 00:12:49.970 --> 00:12:51.870 CARRY THE CAMERAS. >> OK. NEXT STOP. WE'VE JUST COME A COUPLE A MILES. WE'RE 00:12:51.872 --> 00:12:54.440 >> OK. NEXT STOP. WE'VE JUST COME A COUPLE A MILES. WE'RE STILL ON THE VALLEY FLOOR. AND 00:12:54.442 --> 00:12:56.275 COME A COUPLE A MILES. WE'RE STILL ON THE VALLEY FLOOR. AND WHEN WE PULLED UP IN THE CAR AND 00:12:56.277 --> 00:12:57.509 STILL ON THE VALLEY FLOOR. AND WHEN WE PULLED UP IN THE CAR AND STARTED WALKING ACROSS THIS 00:12:57.511 --> 00:12:59.611 WHEN WE PULLED UP IN THE CAR AND STARTED WALKING ACROSS THIS MEADOW, YOU MADE A COUPLE OF 00:12:59.613 --> 00:13:00.612 STARTED WALKING ACROSS THIS MEADOW, YOU MADE A COUPLE OF COMMENTS, MICHAEL. 00:13:00.614 --> 00:13:02.081 MEADOW, YOU MADE A COUPLE OF COMMENTS, MICHAEL. >> ONE WAS THERE WAS A LOT OF 00:13:02.083 --> 00:13:03.949 COMMENTS, MICHAEL. >> ONE WAS THERE WAS A LOT OF GOOSEBERRY WALKING-- 00:13:03.951 --> 00:13:05.417 >> ONE WAS THERE WAS A LOT OF GOOSEBERRY WALKING-- >> YEAH. WE CUT THROUGH A WHOLE 00:13:05.419 --> 00:13:07.019 GOOSEBERRY WALKING-- >> YEAH. WE CUT THROUGH A WHOLE FIELD OF STICKY GOOSEBERRIES. 00:13:07.021 --> 00:13:08.420 >> YEAH. WE CUT THROUGH A WHOLE FIELD OF STICKY GOOSEBERRIES. >> AND THE OTHER IS THAT THERE 00:13:08.422 --> 00:13:09.355 FIELD OF STICKY GOOSEBERRIES. >> AND THE OTHER IS THAT THERE IS AN AMAZING NUMBER OF TREES 00:13:09.357 --> 00:13:11.190 >> AND THE OTHER IS THAT THERE IS AN AMAZING NUMBER OF TREES THAT I DIDN'T REMEMBER FROM THE 00:13:11.192 --> 00:13:12.958 IS AN AMAZING NUMBER OF TREES THAT I DIDN'T REMEMBER FROM THE EARLY PHOTOGRAPHS, WHICH IS 00:13:12.960 --> 00:13:14.193 THAT I DIDN'T REMEMBER FROM THE EARLY PHOTOGRAPHS, WHICH IS NATURAL. 00:13:14.195 --> 00:13:15.294 EARLY PHOTOGRAPHS, WHICH IS NATURAL. >> YES. IT LOOKS A LITTLE 00:13:15.296 --> 00:13:17.262 NATURAL. >> YES. IT LOOKS A LITTLE DIFFERENT AS FAR AS THE TREES 00:13:17.264 --> 00:13:19.064 >> YES. IT LOOKS A LITTLE DIFFERENT AS FAR AS THE TREES ARE CONCERNED. BUT OF COURSE 00:13:19.066 --> 00:13:20.632 DIFFERENT AS FAR AS THE TREES ARE CONCERNED. BUT OF COURSE WE'RE LOOKING AT ANOTHER ONE OF 00:13:20.634 --> 00:13:22.101 ARE CONCERNED. BUT OF COURSE WE'RE LOOKING AT ANOTHER ONE OF ANSEL'S FAVORITES. WHAT ARE WE 00:13:22.103 --> 00:13:22.768 WE'RE LOOKING AT ANOTHER ONE OF ANSEL'S FAVORITES. WHAT ARE WE LOOKING AT? 00:13:22.770 --> 00:13:23.869 ANSEL'S FAVORITES. WHAT ARE WE LOOKING AT? >> CATHEDRAL ROCKS AND CATHEDRAL 00:13:23.871 --> 00:13:26.372 LOOKING AT? >> CATHEDRAL ROCKS AND CATHEDRAL SPIRES TO THE LEFT. THESE WERE 00:13:26.374 --> 00:13:29.608 >> CATHEDRAL ROCKS AND CATHEDRAL SPIRES TO THE LEFT. THESE WERE WONDERFUL AFTERNOON SHOTS FOR 00:13:29.610 --> 00:13:31.577 SPIRES TO THE LEFT. THESE WERE WONDERFUL AFTERNOON SHOTS FOR THE MOST PART THAT HE LOVED. 00:13:31.579 --> 00:13:32.411 WONDERFUL AFTERNOON SHOTS FOR THE MOST PART THAT HE LOVED. PLUS WINTER. 00:13:32.413 --> 00:13:34.313 THE MOST PART THAT HE LOVED. PLUS WINTER. >> WE'RE HERE IN THE MORNING. 00:13:34.315 --> 00:13:35.981 PLUS WINTER. >> WE'RE HERE IN THE MORNING. >> I KNOW. AND IT'S BEAUTIFUL. 00:13:35.983 --> 00:13:37.649 >> WE'RE HERE IN THE MORNING. >> I KNOW. AND IT'S BEAUTIFUL. >> YEAH. IT REALLY IS. THE 00:13:37.651 --> 00:13:40.119 >> I KNOW. AND IT'S BEAUTIFUL. >> YEAH. IT REALLY IS. THE SHADOWS REALLY--LOOK, YOU CAN 00:13:40.121 --> 00:13:41.720 >> YEAH. IT REALLY IS. THE SHADOWS REALLY--LOOK, YOU CAN SEE A REFLECTION OVER THERE. 00:13:41.722 --> 00:13:43.756 SHADOWS REALLY--LOOK, YOU CAN SEE A REFLECTION OVER THERE. >> I THINK THAT THE ICONIC ONES 00:13:43.758 --> 00:13:45.657 SEE A REFLECTION OVER THERE. >> I THINK THAT THE ICONIC ONES THAT PEOPLE REMEMBER WERE DONE 00:13:45.659 --> 00:13:48.761 >> I THINK THAT THE ICONIC ONES THAT PEOPLE REMEMBER WERE DONE AT CERTAIN TIMES. AND IT'S 00:13:48.763 --> 00:13:49.661 THAT PEOPLE REMEMBER WERE DONE AT CERTAIN TIMES. AND IT'S BEAUTIFUL ALL THE TIME. 00:13:49.663 --> 00:13:50.362 AT CERTAIN TIMES. AND IT'S BEAUTIFUL ALL THE TIME. >> YEAH. 00:13:50.364 --> 00:13:51.397 BEAUTIFUL ALL THE TIME. >> YEAH. >> NOW, HOW MUCH TIME WOULD HE 00:13:51.399 --> 00:13:53.899 >> YEAH. >> NOW, HOW MUCH TIME WOULD HE SPEND--I MEAN, HOW MANY 00:13:53.901 --> 00:13:55.934 >> NOW, HOW MUCH TIME WOULD HE SPEND--I MEAN, HOW MANY DIFFERENT VARIATIONS ON THE SAME 00:13:55.936 --> 00:13:57.936 SPEND--I MEAN, HOW MANY DIFFERENT VARIATIONS ON THE SAME THEME WOULD ANSEL SEE THROUGH 00:13:57.938 --> 00:13:59.905 DIFFERENT VARIATIONS ON THE SAME THEME WOULD ANSEL SEE THROUGH HIS EYEPIECE? 00:13:59.907 --> 00:14:01.407 THEME WOULD ANSEL SEE THROUGH HIS EYEPIECE? >> THAT'S KIND OF INTERESTING. 00:14:01.409 --> 00:14:02.541 HIS EYEPIECE? >> THAT'S KIND OF INTERESTING. BECAUSE HE WOULD COME TO A SITE 00:14:02.543 --> 00:14:04.643 >> THAT'S KIND OF INTERESTING. BECAUSE HE WOULD COME TO A SITE LIKE THIS. AND HE MIGHT SET IT 00:14:04.645 --> 00:14:08.280 BECAUSE HE WOULD COME TO A SITE LIKE THIS. AND HE MIGHT SET IT UP AS A HORIZONTAL IMAGE. AND 00:14:08.282 --> 00:14:09.815 LIKE THIS. AND HE MIGHT SET IT UP AS A HORIZONTAL IMAGE. AND THEN HE MIGHT REALLY LIKE TO 00:14:09.817 --> 00:14:11.583 UP AS A HORIZONTAL IMAGE. AND THEN HE MIGHT REALLY LIKE TO FOCUS IN ON THE SPIRES. SO, HE'D 00:14:11.585 --> 00:14:13.619 THEN HE MIGHT REALLY LIKE TO FOCUS IN ON THE SPIRES. SO, HE'D MAKE THAT A VERTICAL WITH MAYBE 00:14:13.621 --> 00:14:14.687 FOCUS IN ON THE SPIRES. SO, HE'D MAKE THAT A VERTICAL WITH MAYBE A TELEPHOTO OR AT LEAST A 00:14:14.689 --> 00:14:16.021 MAKE THAT A VERTICAL WITH MAYBE A TELEPHOTO OR AT LEAST A DIFFERENT LENGTH LENS. 00:14:16.023 --> 00:14:18.390 A TELEPHOTO OR AT LEAST A DIFFERENT LENGTH LENS. >> SO, HE WAS LOOKING AT THE BIG 00:14:18.392 --> 00:14:20.959 DIFFERENT LENGTH LENS. >> SO, HE WAS LOOKING AT THE BIG PICTURE AND WAS LOOKING AT 00:14:20.961 --> 00:14:23.328 >> SO, HE WAS LOOKING AT THE BIG PICTURE AND WAS LOOKING AT MINUTE PARTS OF A SMALLER 00:14:23.330 --> 00:14:24.363 PICTURE AND WAS LOOKING AT MINUTE PARTS OF A SMALLER PICTURE. 00:14:24.365 --> 00:14:25.297 MINUTE PARTS OF A SMALLER PICTURE. >> AND THEN ONE OF THE OTHER 00:14:25.299 --> 00:14:26.565 PICTURE. >> AND THEN ONE OF THE OTHER INTERESTING THINGS IS HE DIDN'T 00:14:26.567 --> 00:14:31.070 >> AND THEN ONE OF THE OTHER INTERESTING THINGS IS HE DIDN'T BRACKET HIS PICTURES TO CHANGE 00:14:31.072 --> 00:14:32.905 INTERESTING THINGS IS HE DIDN'T BRACKET HIS PICTURES TO CHANGE DIFFERENT EXPOSURES. HE KNEW 00:14:32.907 --> 00:14:34.073 BRACKET HIS PICTURES TO CHANGE DIFFERENT EXPOSURES. HE KNEW WHAT HE WANTED. BUT HE USUALLY 00:14:34.075 --> 00:14:35.541 DIFFERENT EXPOSURES. HE KNEW WHAT HE WANTED. BUT HE USUALLY TOOK 2 OR 3 OF AN IMAGE TO 00:14:35.543 --> 00:14:37.509 WHAT HE WANTED. BUT HE USUALLY TOOK 2 OR 3 OF AN IMAGE TO PROTECT HIMSELF. BECAUSE HE 00:14:37.511 --> 00:14:38.544 TOOK 2 OR 3 OF AN IMAGE TO PROTECT HIMSELF. BECAUSE HE SAID, "SOMEONE'S ALWAYS GOING TO 00:14:38.546 --> 00:14:40.212 PROTECT HIMSELF. BECAUSE HE SAID, "SOMEONE'S ALWAYS GOING TO DROP A NEGATIVE." SO, IF HE HAD 00:14:40.214 --> 00:14:41.780 SAID, "SOMEONE'S ALWAYS GOING TO DROP A NEGATIVE." SO, IF HE HAD 2 OR 3 OF THE SAME IMAGE-- 00:14:41.782 --> 00:14:43.082 DROP A NEGATIVE." SO, IF HE HAD 2 OR 3 OF THE SAME IMAGE-- >> THE EXACT SAME IMAGE, THE 00:14:43.084 --> 00:14:45.884 2 OR 3 OF THE SAME IMAGE-- >> THE EXACT SAME IMAGE, THE SAME LIGHT SETTING, EXPOSURE, 00:14:45.886 --> 00:14:46.652 >> THE EXACT SAME IMAGE, THE SAME LIGHT SETTING, EXPOSURE, EVERYTHING. 00:14:46.654 --> 00:14:47.686 SAME LIGHT SETTING, EXPOSURE, EVERYTHING. >> AND A LOT OF TIMES HE WOULD 00:14:47.688 --> 00:14:48.987 EVERYTHING. >> AND A LOT OF TIMES HE WOULD DO THAT JUST TO HAVE THE 00:14:48.989 --> 00:14:50.522 >> AND A LOT OF TIMES HE WOULD DO THAT JUST TO HAVE THE PROTECTION OF ANOTHER IMAGE. BUT 00:14:50.524 --> 00:14:53.025 DO THAT JUST TO HAVE THE PROTECTION OF ANOTHER IMAGE. BUT AGAIN, HE MIGHT HAVE A WONDERFUL 00:14:53.027 --> 00:14:54.126 PROTECTION OF ANOTHER IMAGE. BUT AGAIN, HE MIGHT HAVE A WONDERFUL IMAGE HERE, TAKE A COUPLE, AND 00:14:54.128 --> 00:14:55.594 AGAIN, HE MIGHT HAVE A WONDERFUL IMAGE HERE, TAKE A COUPLE, AND DECIDE, "YOU KNOW, I'M GONNA 00:14:55.596 --> 00:14:58.330 IMAGE HERE, TAKE A COUPLE, AND DECIDE, "YOU KNOW, I'M GONNA MOVE THAT CAMERA 6 INCHES AND 00:14:58.332 --> 00:15:00.366 DECIDE, "YOU KNOW, I'M GONNA MOVE THAT CAMERA 6 INCHES AND SET UP FOR ANOTHER ONE. AND 00:15:00.368 --> 00:15:01.300 MOVE THAT CAMERA 6 INCHES AND SET UP FOR ANOTHER ONE. AND EMPHASIZE IT DIFFERENT." 00:15:01.302 --> 00:15:03.635 SET UP FOR ANOTHER ONE. AND EMPHASIZE IT DIFFERENT." >> I'M TRYING TO FIND BEFORE 00:15:03.637 --> 00:15:05.204 EMPHASIZE IT DIFFERENT." >> I'M TRYING TO FIND BEFORE THIS DAY'S OVER, I WANT TO FIND 00:15:05.206 --> 00:15:06.705 >> I'M TRYING TO FIND BEFORE THIS DAY'S OVER, I WANT TO FIND AN EXACT SPOT WHERE HE MIGHT 00:15:06.707 --> 00:15:08.440 THIS DAY'S OVER, I WANT TO FIND AN EXACT SPOT WHERE HE MIGHT HAVE STOOD. WOULD HE HAVE BEEN 00:15:08.442 --> 00:15:09.775 AN EXACT SPOT WHERE HE MIGHT HAVE STOOD. WOULD HE HAVE BEEN RIGHT IN HERE? 00:15:09.777 --> 00:15:10.776 HAVE STOOD. WOULD HE HAVE BEEN RIGHT IN HERE? >> HE CERTAINLY COULD HAVE BEEN. 00:15:10.778 --> 00:15:11.677 RIGHT IN HERE? >> HE CERTAINLY COULD HAVE BEEN. >> RIGHT HERE? 00:15:11.679 --> 00:15:12.511 >> HE CERTAINLY COULD HAVE BEEN. >> RIGHT HERE? >> RIGHT HERE. I MEAN, THE 00:15:12.513 --> 00:15:13.512 >> RIGHT HERE? >> RIGHT HERE. I MEAN, THE PICTURES THAT I KNOW OF HAD 00:15:13.514 --> 00:15:15.581 >> RIGHT HERE. I MEAN, THE PICTURES THAT I KNOW OF HAD WATER IN THE FOREGROUND. SO, WE 00:15:15.583 --> 00:15:17.649 PICTURES THAT I KNOW OF HAD WATER IN THE FOREGROUND. SO, WE DON'T SEE IT NOW. BUT THAT WOULD 00:15:17.651 --> 00:15:18.717 WATER IN THE FOREGROUND. SO, WE DON'T SEE IT NOW. BUT THAT WOULD CERTAINLY LIMIT WHERE YOU STAND. 00:15:18.719 --> 00:15:19.885 DON'T SEE IT NOW. BUT THAT WOULD CERTAINLY LIMIT WHERE YOU STAND. >> BUT SEE, THAT'S PART OF THE 00:15:19.887 --> 00:15:21.754 CERTAINLY LIMIT WHERE YOU STAND. >> BUT SEE, THAT'S PART OF THE CHANGING FACE OF YOSEMITE OVER 00:15:21.756 --> 00:15:23.455 >> BUT SEE, THAT'S PART OF THE CHANGING FACE OF YOSEMITE OVER THE YEARS AS WELL. AND IT'S NOT 00:15:23.457 --> 00:15:25.357 CHANGING FACE OF YOSEMITE OVER THE YEARS AS WELL. AND IT'S NOT NECESSARILY A BAD THING. IT'S AN 00:15:25.359 --> 00:15:27.259 THE YEARS AS WELL. AND IT'S NOT NECESSARILY A BAD THING. IT'S AN EVOLUTIONARY THING. 00:15:27.261 --> 00:15:28.127 NECESSARILY A BAD THING. IT'S AN EVOLUTIONARY THING. >> AND THESE MEADOWS ARE BEING 00:15:28.129 --> 00:15:30.062 EVOLUTIONARY THING. >> AND THESE MEADOWS ARE BEING ENCROACHED UPON BY TREES, WHICH 00:15:30.064 --> 00:15:32.297 >> AND THESE MEADOWS ARE BEING ENCROACHED UPON BY TREES, WHICH IN THE EARLY DAYS THE INDIANS 00:15:32.299 --> 00:15:33.265 ENCROACHED UPON BY TREES, WHICH IN THE EARLY DAYS THE INDIANS USED TO BURN THEM OFF ALL THE 00:15:33.267 --> 00:15:34.667 IN THE EARLY DAYS THE INDIANS USED TO BURN THEM OFF ALL THE TIME. SO, THE MEADOWS WERE MUCH 00:15:34.669 --> 00:15:36.201 USED TO BURN THEM OFF ALL THE TIME. SO, THE MEADOWS WERE MUCH BIGGER. TODAY THEY'RE ENCROACHED 00:15:36.203 --> 00:15:38.170 TIME. SO, THE MEADOWS WERE MUCH BIGGER. TODAY THEY'RE ENCROACHED UPON. HOWEVER, THE NATIONAL 00:15:38.172 --> 00:15:40.572 BIGGER. TODAY THEY'RE ENCROACHED UPON. HOWEVER, THE NATIONAL PARKS SERVICE IS MAKING AN 00:15:40.574 --> 00:15:42.107 UPON. HOWEVER, THE NATIONAL PARKS SERVICE IS MAKING AN EFFORT TO KEEP A LOT OF THE 00:15:42.109 --> 00:15:44.643 PARKS SERVICE IS MAKING AN EFFORT TO KEEP A LOT OF THE UNWANTED OUT OF THESE MEADOWS, 00:15:44.645 --> 00:15:46.712 EFFORT TO KEEP A LOT OF THE UNWANTED OUT OF THESE MEADOWS, KEEP THEM MORE PRISTINE AND MORE 00:15:46.714 --> 00:15:48.981 UNWANTED OUT OF THESE MEADOWS, KEEP THEM MORE PRISTINE AND MORE LIKE THEY ORIGINALLY WERE. 00:15:48.983 --> 00:15:49.915 KEEP THEM MORE PRISTINE AND MORE LIKE THEY ORIGINALLY WERE. >> OK. SO, WE'RE ENDING UP HERE 00:15:49.917 --> 00:15:51.350 LIKE THEY ORIGINALLY WERE. >> OK. SO, WE'RE ENDING UP HERE LOOKING AT AN AGAIN THE 00:15:51.352 --> 00:15:52.718 >> OK. SO, WE'RE ENDING UP HERE LOOKING AT AN AGAIN THE TECHNICAL NAME IS... 00:15:52.720 --> 00:15:54.753 LOOKING AT AN AGAIN THE TECHNICAL NAME IS... >> CATHEDRAL ROCKS AND CATHEDRAL 00:15:54.755 --> 00:15:56.655 TECHNICAL NAME IS... >> CATHEDRAL ROCKS AND CATHEDRAL SPIRES. 00:15:56.657 --> 00:15:59.391 >> CATHEDRAL ROCKS AND CATHEDRAL SPIRES. >> WE'RE WALKING OVER A BRIDGE-- 00:15:59.393 --> 00:16:00.826 SPIRES. >> WE'RE WALKING OVER A BRIDGE-- A BRIDGE THAT ACCORDING TO 00:16:00.828 --> 00:16:02.194 >> WE'RE WALKING OVER A BRIDGE-- A BRIDGE THAT ACCORDING TO MICHAEL IS A VERY IMPORTANT 00:16:02.196 --> 00:16:05.230 A BRIDGE THAT ACCORDING TO MICHAEL IS A VERY IMPORTANT BRIDGE AS FAR AS ANSEL ADAMS' 00:16:05.232 --> 00:16:07.299 MICHAEL IS A VERY IMPORTANT BRIDGE AS FAR AS ANSEL ADAMS' PHOTOGRAPHS ARE CONCERNED. AND 00:16:07.301 --> 00:16:08.901 BRIDGE AS FAR AS ANSEL ADAMS' PHOTOGRAPHS ARE CONCERNED. AND WE SHOULD STAND WHERE? RIGHT 00:16:08.903 --> 00:16:10.903 PHOTOGRAPHS ARE CONCERNED. AND WE SHOULD STAND WHERE? RIGHT ABOUT...HERE. 00:16:10.905 --> 00:16:11.937 WE SHOULD STAND WHERE? RIGHT ABOUT...HERE. THIS IS WHAT GIVES US THAT 00:16:11.939 --> 00:16:13.038 ABOUT...HERE. THIS IS WHAT GIVES US THAT VANTAGE POINT. 00:16:13.040 --> 00:16:14.139 THIS IS WHAT GIVES US THAT VANTAGE POINT. >> THIS IS THE EL CAPITAN 00:16:14.141 --> 00:16:16.475 VANTAGE POINT. >> THIS IS THE EL CAPITAN BRIDGE. AND IN 1939, ANSEL TOOK 00:16:16.477 --> 00:16:17.576 >> THIS IS THE EL CAPITAN BRIDGE. AND IN 1939, ANSEL TOOK A PICTURE FROM THIS BRIDGE 00:16:17.578 --> 00:16:20.079 BRIDGE. AND IN 1939, ANSEL TOOK A PICTURE FROM THIS BRIDGE ENTITLED "MERCED RIVER CLIFFS 00:16:20.081 --> 00:16:22.181 A PICTURE FROM THIS BRIDGE ENTITLED "MERCED RIVER CLIFFS AUTUMN." IT WAS IN THE FALL OF 00:16:22.183 --> 00:16:24.049 ENTITLED "MERCED RIVER CLIFFS AUTUMN." IT WAS IN THE FALL OF 1939. AND IT HAD A SPECTACULAR 00:16:24.051 --> 00:16:25.951 AUTUMN." IT WAS IN THE FALL OF 1939. AND IT HAD A SPECTACULAR IMAGE SHOWING THE WATER AND THE 00:16:25.953 --> 00:16:28.454 1939. AND IT HAD A SPECTACULAR IMAGE SHOWING THE WATER AND THE CLIFF IN THE BACKGROUND. 00:16:28.456 --> 00:16:30.255 IMAGE SHOWING THE WATER AND THE CLIFF IN THE BACKGROUND. >> NOW, THESE TREES WEREN'T THIS 00:16:30.257 --> 00:16:31.123 CLIFF IN THE BACKGROUND. >> NOW, THESE TREES WEREN'T THIS BIG THEN. 00:16:31.125 --> 00:16:31.957 >> NOW, THESE TREES WEREN'T THIS BIG THEN. >> NO. THESE TREES--EVERYTHING'S 00:16:31.959 --> 00:16:33.125 BIG THEN. >> NO. THESE TREES--EVERYTHING'S GROWING. 00:16:33.127 --> 00:16:34.460 >> NO. THESE TREES--EVERYTHING'S GROWING. >> YEAH. BUT THIS IS THE MERCED 00:16:34.462 --> 00:16:37.496 GROWING. >> YEAH. BUT THIS IS THE MERCED RIVER. AND HE JUST STOOD ON 00:16:37.498 --> 00:16:38.297 >> YEAH. BUT THIS IS THE MERCED RIVER. AND HE JUST STOOD ON THIS-- 00:16:38.299 --> 00:16:40.632 RIVER. AND HE JUST STOOD ON THIS-- >> THE BRIDGE. IN THOSE DAYS AND 00:16:40.634 --> 00:16:42.201 THIS-- >> THE BRIDGE. IN THOSE DAYS AND TOOK THIS IMAGE. AND IT'S ONE OF 00:16:42.203 --> 00:16:45.037 >> THE BRIDGE. IN THOSE DAYS AND TOOK THIS IMAGE. AND IT'S ONE OF THIS WELL KNOWN IMAGES. HE LIKED 00:16:45.039 --> 00:16:46.739 TOOK THIS IMAGE. AND IT'S ONE OF THIS WELL KNOWN IMAGES. HE LIKED IT VERY MUCH. IT'S NOT MY 00:16:46.741 --> 00:16:49.241 THIS WELL KNOWN IMAGES. HE LIKED IT VERY MUCH. IT'S NOT MY FAVORITE. BUT I DO LIKE IT. 00:16:49.243 --> 00:16:50.175 IT VERY MUCH. IT'S NOT MY FAVORITE. BUT I DO LIKE IT. >> MOST OF HIS ICONIC 00:16:50.177 --> 00:16:53.278 FAVORITE. BUT I DO LIKE IT. >> MOST OF HIS ICONIC PHOTOGRAPHS ARE BLACK AND WHITE. 00:16:53.280 --> 00:16:55.381 >> MOST OF HIS ICONIC PHOTOGRAPHS ARE BLACK AND WHITE. DID HE TAKE COLOR PHOTOGRAPHS? 00:16:55.383 --> 00:16:56.448 PHOTOGRAPHS ARE BLACK AND WHITE. DID HE TAKE COLOR PHOTOGRAPHS? >> I WOULD SAY ALL HIS ICONIC 00:16:56.450 --> 00:16:58.384 DID HE TAKE COLOR PHOTOGRAPHS? >> I WOULD SAY ALL HIS ICONIC PHOTOGRAPHS WERE BLACK AND 00:16:58.386 --> 00:16:59.685 >> I WOULD SAY ALL HIS ICONIC PHOTOGRAPHS WERE BLACK AND WHITE. AND THE REASON FOR THAT 00:16:59.687 --> 00:17:01.987 PHOTOGRAPHS WERE BLACK AND WHITE. AND THE REASON FOR THAT WAS THAT HE HAD NO CONTROL OVER 00:17:01.989 --> 00:17:03.889 WHITE. AND THE REASON FOR THAT WAS THAT HE HAD NO CONTROL OVER COLOR. HE TOOK A LOT OF COLOR 00:17:03.891 --> 00:17:06.725 WAS THAT HE HAD NO CONTROL OVER COLOR. HE TOOK A LOT OF COLOR IMAGES IN HIS LIFETIME. BUT HE 00:17:06.727 --> 00:17:08.594 COLOR. HE TOOK A LOT OF COLOR IMAGES IN HIS LIFETIME. BUT HE COULD TAKE THE PICTURE. HE WOULD 00:17:08.596 --> 00:17:10.295 IMAGES IN HIS LIFETIME. BUT HE COULD TAKE THE PICTURE. HE WOULD HAVE TO SEND THE FILM TO KODAK 00:17:10.297 --> 00:17:11.830 COULD TAKE THE PICTURE. HE WOULD HAVE TO SEND THE FILM TO KODAK FOR DEVELOPMENT. HE DID NOT 00:17:11.832 --> 00:17:14.099 HAVE TO SEND THE FILM TO KODAK FOR DEVELOPMENT. HE DID NOT DEVELOP HIS OWN COLOR. 00:17:14.101 --> 00:17:15.434 FOR DEVELOPMENT. HE DID NOT DEVELOP HIS OWN COLOR. THEREFORE, HE DID NOT HAVE THE 00:17:15.436 --> 00:17:18.771 DEVELOP HIS OWN COLOR. THEREFORE, HE DID NOT HAVE THE CONTROL THAT HE INSISTED ON AND 00:17:18.773 --> 00:17:20.272 THEREFORE, HE DID NOT HAVE THE CONTROL THAT HE INSISTED ON AND THAT HE COULD OBTAIN WITH HIS 00:17:20.274 --> 00:17:21.273 CONTROL THAT HE INSISTED ON AND THAT HE COULD OBTAIN WITH HIS BLACK AND WHITE. 00:17:21.275 --> 00:17:22.775 THAT HE COULD OBTAIN WITH HIS BLACK AND WHITE. >> SO, HE ACTUALLY DEVELOPED--HE 00:17:22.777 --> 00:17:26.712 BLACK AND WHITE. >> SO, HE ACTUALLY DEVELOPED--HE PROCESSED HIMSELF. WHERE? HERE? 00:17:26.714 --> 00:17:28.247 >> SO, HE ACTUALLY DEVELOPED--HE PROCESSED HIMSELF. WHERE? HERE? >> HE DID SOME IN YOSEMITE. HE 00:17:28.249 --> 00:17:29.481 PROCESSED HIMSELF. WHERE? HERE? >> HE DID SOME IN YOSEMITE. HE DID SOME IN SAN FRANCISCO BEFORE 00:17:29.483 --> 00:17:30.849 >> HE DID SOME IN YOSEMITE. HE DID SOME IN SAN FRANCISCO BEFORE HE MOVED TO CARMEL. AND FOR THE 00:17:30.851 --> 00:17:32.951 DID SOME IN SAN FRANCISCO BEFORE HE MOVED TO CARMEL. AND FOR THE LATTER YEARS OF HIS LIFE--FROM 00:17:32.953 --> 00:17:36.155 HE MOVED TO CARMEL. AND FOR THE LATTER YEARS OF HIS LIFE--FROM '62 ON--HE HAD A WONDERFUL DARK 00:17:36.157 --> 00:17:37.089 LATTER YEARS OF HIS LIFE--FROM '62 ON--HE HAD A WONDERFUL DARK ROOM IN CARMEL. 00:17:37.091 --> 00:17:39.625 '62 ON--HE HAD A WONDERFUL DARK ROOM IN CARMEL. >> SO, HE ACTUALLY WENT THROUGH 00:17:39.627 --> 00:17:41.126 ROOM IN CARMEL. >> SO, HE ACTUALLY WENT THROUGH THE WHOLE PROCESS. HE PROCESSED 00:17:41.128 --> 00:17:43.829 >> SO, HE ACTUALLY WENT THROUGH THE WHOLE PROCESS. HE PROCESSED THE PHOTOGRAPHS HIMSELF. 00:17:43.831 --> 00:17:45.464 THE WHOLE PROCESS. HE PROCESSED THE PHOTOGRAPHS HIMSELF. >> AND HE WOULD NOT SIGN ONE 00:17:45.466 --> 00:17:47.833 THE PHOTOGRAPHS HIMSELF. >> AND HE WOULD NOT SIGN ONE UNLESS HE HAD COMPLETED NOT ONLY 00:17:47.835 --> 00:17:50.436 >> AND HE WOULD NOT SIGN ONE UNLESS HE HAD COMPLETED NOT ONLY THE NEGATIVE BUT THE DEVELOPMENT 00:17:50.438 --> 00:17:53.005 UNLESS HE HAD COMPLETED NOT ONLY THE NEGATIVE BUT THE DEVELOPMENT OF THE PRINT. OF COURSE, HE 00:17:53.007 --> 00:17:53.872 THE NEGATIVE BUT THE DEVELOPMENT OF THE PRINT. OF COURSE, HE WOULDN'T DO THE SPOTTING 00:17:53.874 --> 00:17:55.140 OF THE PRINT. OF COURSE, HE WOULDN'T DO THE SPOTTING NECESSARILY OR THE MOUNTING. BUT 00:17:55.142 --> 00:17:57.076 WOULDN'T DO THE SPOTTING NECESSARILY OR THE MOUNTING. BUT IT WAS HIS IMAGE ALL THE WAY TO 00:17:57.078 --> 00:17:58.043 NECESSARILY OR THE MOUNTING. BUT IT WAS HIS IMAGE ALL THE WAY TO THE END. 00:17:58.045 --> 00:18:00.612 IT WAS HIS IMAGE ALL THE WAY TO THE END. >> NOW, WE'RE RIGHT UP CLOSE TO 00:18:00.614 --> 00:18:03.349 THE END. >> NOW, WE'RE RIGHT UP CLOSE TO EL CAP. AND WE STOPPED HERE 00:18:03.351 --> 00:18:05.250 >> NOW, WE'RE RIGHT UP CLOSE TO EL CAP. AND WE STOPPED HERE BECAUSE YOU SAID ANSEL, HE LIKED 00:18:05.252 --> 00:18:07.353 EL CAP. AND WE STOPPED HERE BECAUSE YOU SAID ANSEL, HE LIKED TO SHOOT BIG THINGS LIKE THIS 00:18:07.355 --> 00:18:08.987 BECAUSE YOU SAID ANSEL, HE LIKED TO SHOOT BIG THINGS LIKE THIS FROM A DISTANCE. BUT HE ALSO 00:18:08.989 --> 00:18:10.923 TO SHOOT BIG THINGS LIKE THIS FROM A DISTANCE. BUT HE ALSO LIKED TO BE UP CLOSE LIKE WE ARE 00:18:10.925 --> 00:18:11.957 FROM A DISTANCE. BUT HE ALSO LIKED TO BE UP CLOSE LIKE WE ARE RIGHT NOW. 00:18:11.959 --> 00:18:13.625 LIKED TO BE UP CLOSE LIKE WE ARE RIGHT NOW. >> HE LIKED BOTH. BUT SOME OF 00:18:13.627 --> 00:18:16.562 RIGHT NOW. >> HE LIKED BOTH. BUT SOME OF HIS IMAGES OF EL CAP FROM THIS 00:18:16.564 --> 00:18:17.696 >> HE LIKED BOTH. BUT SOME OF HIS IMAGES OF EL CAP FROM THIS SITE AND NEAR HERE WERE REALLY 00:18:17.698 --> 00:18:19.398 HIS IMAGES OF EL CAP FROM THIS SITE AND NEAR HERE WERE REALLY JUST INTIMATE SHOTS OF PART OF 00:18:19.400 --> 00:18:20.532 SITE AND NEAR HERE WERE REALLY JUST INTIMATE SHOTS OF PART OF THE MOUNTAIN. 00:18:20.534 --> 00:18:21.300 JUST INTIMATE SHOTS OF PART OF THE MOUNTAIN. >> WHAT DO YOU MEAN? 00:18:21.302 --> 00:18:22.968 THE MOUNTAIN. >> WHAT DO YOU MEAN? >> JUST LIKE MAYBE THE TOP OR 00:18:22.970 --> 00:18:26.438 >> WHAT DO YOU MEAN? >> JUST LIKE MAYBE THE TOP OR THOSE CHUTES THAT ARE GOING UP. 00:18:26.440 --> 00:18:28.407 >> JUST LIKE MAYBE THE TOP OR THOSE CHUTES THAT ARE GOING UP. OR IN THE SPRINGTIME THERE'S A 00:18:28.409 --> 00:18:29.708 THOSE CHUTES THAT ARE GOING UP. OR IN THE SPRINGTIME THERE'S A WATERFALL THAT COMES OVER OUT 00:18:29.710 --> 00:18:31.210 OR IN THE SPRINGTIME THERE'S A WATERFALL THAT COMES OVER OUT HERE. AND HE WOULD HAVE TIGHT 00:18:31.212 --> 00:18:33.512 WATERFALL THAT COMES OVER OUT HERE. AND HE WOULD HAVE TIGHT SHOTS OF THE WATERFALL AND THE 00:18:33.514 --> 00:18:35.414 HERE. AND HE WOULD HAVE TIGHT SHOTS OF THE WATERFALL AND THE CLIFF, NOT THE WHOLE MOUNTAIN. 00:18:35.416 --> 00:18:36.315 SHOTS OF THE WATERFALL AND THE CLIFF, NOT THE WHOLE MOUNTAIN. >> SO, HE WOULD GET UP CLOSE 00:18:36.317 --> 00:18:37.149 CLIFF, NOT THE WHOLE MOUNTAIN. >> SO, HE WOULD GET UP CLOSE LIKE THIS. 00:18:37.151 --> 00:18:38.017 >> SO, HE WOULD GET UP CLOSE LIKE THIS. >> WELL, HE WOULD BE DOWN HERE 00:18:38.019 --> 00:18:40.352 LIKE THIS. >> WELL, HE WOULD BE DOWN HERE WITH A LONG LENS. AND HE'D BRING 00:18:40.354 --> 00:18:41.620 >> WELL, HE WOULD BE DOWN HERE WITH A LONG LENS. AND HE'D BRING THOSE THINGS IN. IT WOULDN'T BE 00:18:41.622 --> 00:18:42.488 WITH A LONG LENS. AND HE'D BRING THOSE THINGS IN. IT WOULDN'T BE THE WHOLE MOUNTAIN. IT WOULD BE 00:18:42.490 --> 00:18:43.255 THOSE THINGS IN. IT WOULDN'T BE THE WHOLE MOUNTAIN. IT WOULD BE A SEGMENT OF IT. 00:18:43.257 --> 00:18:44.456 THE WHOLE MOUNTAIN. IT WOULD BE A SEGMENT OF IT. >> NOW, YOU POINTED OUT THIS 00:18:44.458 --> 00:18:46.191 A SEGMENT OF IT. >> NOW, YOU POINTED OUT THIS BLACK SPOT IN THE MIDDLE, WHICH 00:18:46.193 --> 00:18:47.926 >> NOW, YOU POINTED OUT THIS BLACK SPOT IN THE MIDDLE, WHICH I'VE BEEN DRIVING BY HERE FOR 00:18:47.928 --> 00:18:49.228 BLACK SPOT IN THE MIDDLE, WHICH I'VE BEEN DRIVING BY HERE FOR YEARS AND NEVER NOTICED IT. 00:18:49.230 --> 00:18:50.696 I'VE BEEN DRIVING BY HERE FOR YEARS AND NEVER NOTICED IT. >> KNOWN AS THE NORTH AMERICAN 00:18:50.698 --> 00:18:52.564 YEARS AND NEVER NOTICED IT. >> KNOWN AS THE NORTH AMERICAN WALL BECAUSE THE STAIN AREA HAS 00:18:52.566 --> 00:18:53.866 >> KNOWN AS THE NORTH AMERICAN WALL BECAUSE THE STAIN AREA HAS SORT OF THE SHAPE OF NORTH 00:18:53.868 --> 00:18:55.601 WALL BECAUSE THE STAIN AREA HAS SORT OF THE SHAPE OF NORTH AMERICA. I'M SURE THAT THE 00:18:55.603 --> 00:18:57.136 SORT OF THE SHAPE OF NORTH AMERICA. I'M SURE THAT THE CLIMBERS ARE THE ONES THAT 00:18:57.138 --> 00:18:58.604 AMERICA. I'M SURE THAT THE CLIMBERS ARE THE ONES THAT CALLED IT THIS. I DON'T KNOW FOR 00:18:58.606 --> 00:18:59.304 CLIMBERS ARE THE ONES THAT CALLED IT THIS. I DON'T KNOW FOR SURE. 00:18:59.306 --> 00:19:00.339 CALLED IT THIS. I DON'T KNOW FOR SURE. >> IT DOES. IT LOOKS LIKE NORTH 00:19:00.341 --> 00:19:01.173 SURE. >> IT DOES. IT LOOKS LIKE NORTH AMERICA. 00:19:01.175 --> 00:19:02.675 >> IT DOES. IT LOOKS LIKE NORTH AMERICA. >> IT DOES. AND IT'S ONE OF THE 00:19:02.677 --> 00:19:04.443 AMERICA. >> IT DOES. AND IT'S ONE OF THE WALLS OF EL CAP THAT'S VERY 00:19:04.445 --> 00:19:06.478 >> IT DOES. AND IT'S ONE OF THE WALLS OF EL CAP THAT'S VERY FAMOUS FOR THE CLIMBING. 00:19:06.480 --> 00:19:07.913 WALLS OF EL CAP THAT'S VERY FAMOUS FOR THE CLIMBING. >> BUT YOU KNOW WHEN YOU LOOK, 00:19:07.915 --> 00:19:10.516 FAMOUS FOR THE CLIMBING. >> BUT YOU KNOW WHEN YOU LOOK, WHEN YOU REALLY START TO LOOK 00:19:10.518 --> 00:19:12.384 >> BUT YOU KNOW WHEN YOU LOOK, WHEN YOU REALLY START TO LOOK AND PUT A PHOTOGRAPHER'S HAT ON 00:19:12.386 --> 00:19:14.520 WHEN YOU REALLY START TO LOOK AND PUT A PHOTOGRAPHER'S HAT ON YOUR HEAD, YOU BEGIN TO REALIZE 00:19:14.522 --> 00:19:17.756 AND PUT A PHOTOGRAPHER'S HAT ON YOUR HEAD, YOU BEGIN TO REALIZE THE TEXTURE AND THE WAY THE 00:19:17.758 --> 00:19:19.858 YOUR HEAD, YOU BEGIN TO REALIZE THE TEXTURE AND THE WAY THE LIGHT PLAYS WITH THE SHADOWS. 00:19:19.860 --> 00:19:21.393 THE TEXTURE AND THE WAY THE LIGHT PLAYS WITH THE SHADOWS. THIS WOULD BE A PHOTOGRAPHER'S 00:19:21.395 --> 00:19:23.128 LIGHT PLAYS WITH THE SHADOWS. THIS WOULD BE A PHOTOGRAPHER'S DREAM, JUST RIGHT HERE UP CLOSE 00:19:23.130 --> 00:19:24.096 THIS WOULD BE A PHOTOGRAPHER'S DREAM, JUST RIGHT HERE UP CLOSE LIKE THIS. 00:19:24.098 --> 00:19:25.064 DREAM, JUST RIGHT HERE UP CLOSE LIKE THIS. >> YOU DON'T HAVE TO GO VERY 00:19:25.066 --> 00:19:26.665 LIKE THIS. >> YOU DON'T HAVE TO GO VERY FAR. AND YOU STAY HERE DURING A 00:19:26.667 --> 00:19:27.800 >> YOU DON'T HAVE TO GO VERY FAR. AND YOU STAY HERE DURING A DAY AND YOU GOT DIFFERENT 00:19:27.802 --> 00:19:29.301 FAR. AND YOU STAY HERE DURING A DAY AND YOU GOT DIFFERENT SHADOWS FROM DIFFERENT HOURS. 00:19:29.303 --> 00:19:31.003 DAY AND YOU GOT DIFFERENT SHADOWS FROM DIFFERENT HOURS. THEY GIVE YOU A TOTALLY 00:19:31.005 --> 00:19:32.905 SHADOWS FROM DIFFERENT HOURS. THEY GIVE YOU A TOTALLY DIFFERENT KIND OF FEELING OF 00:19:32.907 --> 00:19:34.807 THEY GIVE YOU A TOTALLY DIFFERENT KIND OF FEELING OF THIS MOUNTAIN. 00:19:34.809 --> 00:19:36.442 DIFFERENT KIND OF FEELING OF THIS MOUNTAIN. >> OK. WE'VE NOW COME OFF THE 00:19:36.444 --> 00:19:39.078 THIS MOUNTAIN. >> OK. WE'VE NOW COME OFF THE YOSEMITE VALLEY FLOOR. AND WE 00:19:39.080 --> 00:19:41.080 >> OK. WE'VE NOW COME OFF THE YOSEMITE VALLEY FLOOR. AND WE ARE AT ONE OF THE MOST--WE USE 00:19:41.082 --> 00:19:42.514 YOSEMITE VALLEY FLOOR. AND WE ARE AT ONE OF THE MOST--WE USE THE WORD ICONIC A LOT IN THIS 00:19:42.516 --> 00:19:44.016 ARE AT ONE OF THE MOST--WE USE THE WORD ICONIC A LOT IN THIS ADVENTURE. BUT THIS IS 00:19:44.018 --> 00:19:45.584 THE WORD ICONIC A LOT IN THIS ADVENTURE. BUT THIS IS DEFINITELY ONE OF THE MOST 00:19:45.586 --> 00:19:47.820 ADVENTURE. BUT THIS IS DEFINITELY ONE OF THE MOST ICONIC SHOTS. 00:19:47.822 --> 00:19:48.921 DEFINITELY ONE OF THE MOST ICONIC SHOTS. >> THIS DEFINITELY IS. THIS IS 00:19:48.923 --> 00:19:49.988 ICONIC SHOTS. >> THIS DEFINITELY IS. THIS IS THE TUNNEL VIEW OR THE 00:19:49.990 --> 00:19:52.257 >> THIS DEFINITELY IS. THIS IS THE TUNNEL VIEW OR THE INSPIRATION POINT VIEW AND 00:19:52.259 --> 00:19:53.959 THE TUNNEL VIEW OR THE INSPIRATION POINT VIEW AND PROBABLY THE MOST FAMOUS AND 00:19:53.961 --> 00:19:55.294 INSPIRATION POINT VIEW AND PROBABLY THE MOST FAMOUS AND MOST PHOTOGRAPHED SIGHT IN 00:19:55.296 --> 00:19:56.362 PROBABLY THE MOST FAMOUS AND MOST PHOTOGRAPHED SIGHT IN YOSEMITE VALLEY. 00:19:56.364 --> 00:19:57.863 MOST PHOTOGRAPHED SIGHT IN YOSEMITE VALLEY. >> EVERY TIME WE COME INTO 00:19:57.865 --> 00:19:59.732 YOSEMITE VALLEY. >> EVERY TIME WE COME INTO YOSEMITE, WE STOP HERE TO TAKE 00:19:59.734 --> 00:20:01.433 >> EVERY TIME WE COME INTO YOSEMITE, WE STOP HERE TO TAKE PICTURES. THERE HAVE BEEN 00:20:01.435 --> 00:20:02.801 YOSEMITE, WE STOP HERE TO TAKE PICTURES. THERE HAVE BEEN MILLIONS. TENS OF MILLIONS. 00:20:02.803 --> 00:20:04.269 PICTURES. THERE HAVE BEEN MILLIONS. TENS OF MILLIONS. HUNDREDS OF MILLIONS OF 00:20:04.271 --> 00:20:06.538 MILLIONS. TENS OF MILLIONS. HUNDREDS OF MILLIONS OF PHOTOGRAPHS TAKEN HERE, 00:20:06.540 --> 00:20:08.474 HUNDREDS OF MILLIONS OF PHOTOGRAPHS TAKEN HERE, INCLUDING PHOTOGRAPHS BY YOUR 00:20:08.476 --> 00:20:09.441 PHOTOGRAPHS TAKEN HERE, INCLUDING PHOTOGRAPHS BY YOUR DAD. 00:20:09.443 --> 00:20:11.143 INCLUDING PHOTOGRAPHS BY YOUR DAD. >> ANSEL TOOK A LOT FROM HERE. I 00:20:11.145 --> 00:20:13.245 DAD. >> ANSEL TOOK A LOT FROM HERE. I CAN REMEMBER BEING WITH HIM ON A 00:20:13.247 --> 00:20:14.780 >> ANSEL TOOK A LOT FROM HERE. I CAN REMEMBER BEING WITH HIM ON A FEW. SOME IN THE SUMMER WITH 00:20:14.782 --> 00:20:16.749 CAN REMEMBER BEING WITH HIM ON A FEW. SOME IN THE SUMMER WITH THUNDERSTORMS. SOME IN THE 00:20:16.751 --> 00:20:19.184 FEW. SOME IN THE SUMMER WITH THUNDERSTORMS. SOME IN THE WINTER WITH SNOW AND ICE AROUND 00:20:19.186 --> 00:20:21.653 THUNDERSTORMS. SOME IN THE WINTER WITH SNOW AND ICE AROUND AND COLD. BUT IT IS JUST ONE OF 00:20:21.655 --> 00:20:22.454 WINTER WITH SNOW AND ICE AROUND AND COLD. BUT IT IS JUST ONE OF THOSE PLACES YOU COME BACK TO. 00:20:22.456 --> 00:20:23.522 AND COLD. BUT IT IS JUST ONE OF THOSE PLACES YOU COME BACK TO. IT'S SO SPECTACULAR AND IT 00:20:23.524 --> 00:20:24.590 THOSE PLACES YOU COME BACK TO. IT'S SO SPECTACULAR AND IT CHANGES ALL THE TIME. 00:20:24.592 --> 00:20:25.891 IT'S SO SPECTACULAR AND IT CHANGES ALL THE TIME. >> NOW, DID HE LIKE IT FOR THE 00:20:25.893 --> 00:20:27.793 CHANGES ALL THE TIME. >> NOW, DID HE LIKE IT FOR THE SAME REASON THAT EVERYBODY ELSE 00:20:27.795 --> 00:20:29.661 >> NOW, DID HE LIKE IT FOR THE SAME REASON THAT EVERYBODY ELSE LIKES IT? JUST BECAUSE OF THE 00:20:29.663 --> 00:20:32.031 SAME REASON THAT EVERYBODY ELSE LIKES IT? JUST BECAUSE OF THE GRANDEUR OF IT, THE DEPTH OF IT, 00:20:32.033 --> 00:20:34.700 LIKES IT? JUST BECAUSE OF THE GRANDEUR OF IT, THE DEPTH OF IT, THE DIFFERENT LAYERS OF WHAT YOU 00:20:34.702 --> 00:20:35.801 GRANDEUR OF IT, THE DEPTH OF IT, THE DIFFERENT LAYERS OF WHAT YOU SEE WHEN YOU'RE LOOKING OUT 00:20:35.803 --> 00:20:36.568 THE DIFFERENT LAYERS OF WHAT YOU SEE WHEN YOU'RE LOOKING OUT THERE? 00:20:36.570 --> 00:20:37.369 SEE WHEN YOU'RE LOOKING OUT THERE? >> I THINK SO. BECAUSE IT 00:20:37.371 --> 00:20:39.838 THERE? >> I THINK SO. BECAUSE IT CHANGES, LIKE I SAID, IN THE 00:20:39.840 --> 00:20:41.173 >> I THINK SO. BECAUSE IT CHANGES, LIKE I SAID, IN THE SPRING THE WATERFALLS ARE 00:20:41.175 --> 00:20:42.608 CHANGES, LIKE I SAID, IN THE SPRING THE WATERFALLS ARE BOOMING AND YOU SEE A LOT OF 00:20:42.610 --> 00:20:44.743 SPRING THE WATERFALLS ARE BOOMING AND YOU SEE A LOT OF WATER. AND IN THE FALL, THE 00:20:44.745 --> 00:20:46.845 BOOMING AND YOU SEE A LOT OF WATER. AND IN THE FALL, THE COLOR TURNS IN SOME OF THESE 00:20:46.847 --> 00:20:48.247 WATER. AND IN THE FALL, THE COLOR TURNS IN SOME OF THESE TREES DOWN HERE. IN THE LATE 00:20:48.249 --> 00:20:49.248 COLOR TURNS IN SOME OF THESE TREES DOWN HERE. IN THE LATE AFTERNOON, YOU MIGHT GET A 00:20:49.250 --> 00:20:50.949 TREES DOWN HERE. IN THE LATE AFTERNOON, YOU MIGHT GET A WONDERFUL RAINBOW IN BRIDAL VEIL 00:20:50.951 --> 00:20:52.618 AFTERNOON, YOU MIGHT GET A WONDERFUL RAINBOW IN BRIDAL VEIL FALLS. OR YOU MIGHT HAVE SOME OF 00:20:52.620 --> 00:20:53.919 WONDERFUL RAINBOW IN BRIDAL VEIL FALLS. OR YOU MIGHT HAVE SOME OF THE MOUNTAIN OBSCURED WITH 00:20:53.921 --> 00:20:55.621 FALLS. OR YOU MIGHT HAVE SOME OF THE MOUNTAIN OBSCURED WITH CLOUDS EITHER WITH A STORM IN 00:20:55.623 --> 00:20:58.257 THE MOUNTAIN OBSCURED WITH CLOUDS EITHER WITH A STORM IN THE FALL OR A WINTER SNOWSTORM. 00:20:58.259 --> 00:21:00.025 CLOUDS EITHER WITH A STORM IN THE FALL OR A WINTER SNOWSTORM. SO, IT CHANGES ALL THE TIME. 00:21:00.027 --> 00:21:03.696 THE FALL OR A WINTER SNOWSTORM. SO, IT CHANGES ALL THE TIME. >> YEAH. YOU KNOW, I GUESS WHEN 00:21:03.698 --> 00:21:05.164 SO, IT CHANGES ALL THE TIME. >> YEAH. YOU KNOW, I GUESS WHEN I'VE BEEN STANDING HERE, I'VE 00:21:05.166 --> 00:21:07.333 >> YEAH. YOU KNOW, I GUESS WHEN I'VE BEEN STANDING HERE, I'VE ALWAYS BEEN LOOKING OUT. BUT 00:21:07.335 --> 00:21:08.967 I'VE BEEN STANDING HERE, I'VE ALWAYS BEEN LOOKING OUT. BUT LOOK, THE TREES DOWN BELOW ARE 00:21:08.969 --> 00:21:09.968 ALWAYS BEEN LOOKING OUT. BUT LOOK, THE TREES DOWN BELOW ARE SO BEAUTIFUL. 00:21:09.970 --> 00:21:11.570 LOOK, THE TREES DOWN BELOW ARE SO BEAUTIFUL. >> IT'S A FANTASTIC SIGHT. 00:21:11.572 --> 00:21:14.173 SO BEAUTIFUL. >> IT'S A FANTASTIC SIGHT. >> DID HE CONSIDER THIS ONE OF 00:21:14.175 --> 00:21:15.741 >> IT'S A FANTASTIC SIGHT. >> DID HE CONSIDER THIS ONE OF HIS PRIME SPOTS? 00:21:15.743 --> 00:21:17.042 >> DID HE CONSIDER THIS ONE OF HIS PRIME SPOTS? >> ABSOLUTELY. AND SOME OF HIS 00:21:17.044 --> 00:21:18.310 HIS PRIME SPOTS? >> ABSOLUTELY. AND SOME OF HIS BEST KNOWN IMAGES WERE TAKEN 00:21:18.312 --> 00:21:19.845 >> ABSOLUTELY. AND SOME OF HIS BEST KNOWN IMAGES WERE TAKEN FROM THIS SITE. PRACTICALLY 00:21:19.847 --> 00:21:21.747 BEST KNOWN IMAGES WERE TAKEN FROM THIS SITE. PRACTICALLY RIGHT WHERE WE'RE STANDING. 00:21:21.749 --> 00:21:24.249 FROM THIS SITE. PRACTICALLY RIGHT WHERE WE'RE STANDING. >> OK. THIS IS A FIRST. ANSEL 00:21:24.251 --> 00:21:27.353 RIGHT WHERE WE'RE STANDING. >> OK. THIS IS A FIRST. ANSEL ADAMS' SON IS TAKING A 00:21:27.355 --> 00:21:29.621 >> OK. THIS IS A FIRST. ANSEL ADAMS' SON IS TAKING A PHOTOGRAPH OF--THE NAME OF THE 00:21:29.623 --> 00:21:30.322 ADAMS' SON IS TAKING A PHOTOGRAPH OF--THE NAME OF THE FAMILY? 00:21:30.324 --> 00:21:32.358 PHOTOGRAPH OF--THE NAME OF THE FAMILY? >> JUAREZ, MEDINAS, AND 00:21:32.360 --> 00:21:33.659 FAMILY? >> JUAREZ, MEDINAS, AND ALVEREZES. 00:21:33.661 --> 00:21:39.064 >> JUAREZ, MEDINAS, AND ALVEREZES. >> WOW. HISTORY BEING MADE. NOW, 00:21:39.066 --> 00:21:39.832 ALVEREZES. >> WOW. HISTORY BEING MADE. NOW, MICHAEL AND I ARE STANDING HERE 00:21:39.834 --> 00:21:41.500 >> WOW. HISTORY BEING MADE. NOW, MICHAEL AND I ARE STANDING HERE HOLDING OUR LITTLE DIGITAL 00:21:41.502 --> 00:21:42.735 MICHAEL AND I ARE STANDING HERE HOLDING OUR LITTLE DIGITAL CAMERAS HERE. 00:21:42.737 --> 00:21:44.069 HOLDING OUR LITTLE DIGITAL CAMERAS HERE. WOULD ANSEL HAVE APPROVED 00:21:44.071 --> 00:21:46.005 CAMERAS HERE. WOULD ANSEL HAVE APPROVED OF CAMERAS LIKE THIS? 00:21:46.007 --> 00:21:47.473 WOULD ANSEL HAVE APPROVED OF CAMERAS LIKE THIS? >> YOU KNOW, I'M ASKED THAT ALL 00:21:47.475 --> 00:21:49.174 OF CAMERAS LIKE THIS? >> YOU KNOW, I'M ASKED THAT ALL THE TIME. AND MY GUT FEELING IS 00:21:49.176 --> 00:21:50.609 >> YOU KNOW, I'M ASKED THAT ALL THE TIME. AND MY GUT FEELING IS THAT HE WOULD HAVE JUMPED AT 00:21:50.611 --> 00:21:52.111 THE TIME. AND MY GUT FEELING IS THAT HE WOULD HAVE JUMPED AT DIGITAL. HE WOULD HAVE LOVED THE 00:21:52.113 --> 00:21:53.579 THAT HE WOULD HAVE JUMPED AT DIGITAL. HE WOULD HAVE LOVED THE MECHANICAL. 00:21:53.581 --> 00:21:54.480 DIGITAL. HE WOULD HAVE LOVED THE MECHANICAL. >> REALLY? 00:21:54.482 --> 00:21:55.280 MECHANICAL. >> REALLY? >> HE WOULD HAVE BEEN INTRIGUED 00:21:55.282 --> 00:21:56.982 >> REALLY? >> HE WOULD HAVE BEEN INTRIGUED WITH THE PROCESSING IN THE 00:21:56.984 --> 00:21:58.917 >> HE WOULD HAVE BEEN INTRIGUED WITH THE PROCESSING IN THE DIGITAL CAMERA. 00:21:58.919 --> 00:22:00.419 WITH THE PROCESSING IN THE DIGITAL CAMERA. >> SEE, I THOUGHT HE WOULD HAVE 00:22:00.421 --> 00:22:01.553 DIGITAL CAMERA. >> SEE, I THOUGHT HE WOULD HAVE BEEN A FILM GUY. HARDCORE FILM 00:22:01.555 --> 00:22:02.821 >> SEE, I THOUGHT HE WOULD HAVE BEEN A FILM GUY. HARDCORE FILM GUY. 00:22:02.823 --> 00:22:04.056 BEEN A FILM GUY. HARDCORE FILM GUY. >> HE WAS FILM. BUT HE WAS ALSO 00:22:04.058 --> 00:22:04.990 GUY. >> HE WAS FILM. BUT HE WAS ALSO VERY MUCH INVOLVED WITH 00:22:04.992 --> 00:22:06.458 >> HE WAS FILM. BUT HE WAS ALSO VERY MUCH INVOLVED WITH POLAROID. AND POLAROID'S 00:22:06.460 --> 00:22:08.027 VERY MUCH INVOLVED WITH POLAROID. AND POLAROID'S DEVELOPMENT. AND I THINK AS 00:22:08.029 --> 00:22:09.461 POLAROID. AND POLAROID'S DEVELOPMENT. AND I THINK AS SOMETHING NEW CAME ALONG, HE 00:22:09.463 --> 00:22:10.729 DEVELOPMENT. AND I THINK AS SOMETHING NEW CAME ALONG, HE WOULD HAVE BEEN VERY EXCITED. 00:22:10.731 --> 00:22:11.830 SOMETHING NEW CAME ALONG, HE WOULD HAVE BEEN VERY EXCITED. >> BUT HE WOULDN'T HAVE BEEN 00:22:11.832 --> 00:22:13.298 WOULD HAVE BEEN VERY EXCITED. >> BUT HE WOULDN'T HAVE BEEN ABLE TO DEVELOP THEM, PROCESS 00:22:13.300 --> 00:22:14.033 >> BUT HE WOULDN'T HAVE BEEN ABLE TO DEVELOP THEM, PROCESS THEM. 00:22:14.035 --> 00:22:14.900 ABLE TO DEVELOP THEM, PROCESS THEM. >> WELL, YOU KNOW, ADOBE 00:22:14.902 --> 00:22:16.402 THEM. >> WELL, YOU KNOW, ADOBE PHOTOSHOP IS ALMOST THE SAME 00:22:16.404 --> 00:22:18.504 >> WELL, YOU KNOW, ADOBE PHOTOSHOP IS ALMOST THE SAME KIND OF PROCESSING WHEN YOU 00:22:18.506 --> 00:22:19.838 PHOTOSHOP IS ALMOST THE SAME KIND OF PROCESSING WHEN YOU REALLY GET DOWN TO IT. 00:22:19.840 --> 00:22:20.706 KIND OF PROCESSING WHEN YOU REALLY GET DOWN TO IT. >> SO, HE WOULD HAVE USED 00:22:20.708 --> 00:22:21.540 REALLY GET DOWN TO IT. >> SO, HE WOULD HAVE USED PHOTOSHOP. 00:22:21.542 --> 00:22:22.641 >> SO, HE WOULD HAVE USED PHOTOSHOP. >> WELL, IF HE WOULD HAVE FOUND 00:22:22.643 --> 00:22:23.742 PHOTOSHOP. >> WELL, IF HE WOULD HAVE FOUND OUT ABOUT IT. BUT I MEAN, THE 00:22:23.744 --> 00:22:25.644 >> WELL, IF HE WOULD HAVE FOUND OUT ABOUT IT. BUT I MEAN, THE OPTION IS THERE TO DO ALL OF THE 00:22:25.646 --> 00:22:26.945 OUT ABOUT IT. BUT I MEAN, THE OPTION IS THERE TO DO ALL OF THE THINGS HE COULD DO IN A DARK 00:22:26.947 --> 00:22:28.480 OPTION IS THERE TO DO ALL OF THE THINGS HE COULD DO IN A DARK ROOM COULD BE DONE ON ADOBE. 00:22:28.482 --> 00:22:29.715 THINGS HE COULD DO IN A DARK ROOM COULD BE DONE ON ADOBE. >> WOW. 00:22:29.717 --> 00:22:30.983 ROOM COULD BE DONE ON ADOBE. >> WOW. >> SO, HE WOULDN'T HAVE LOST 00:22:30.985 --> 00:22:32.484 >> WOW. >> SO, HE WOULDN'T HAVE LOST CONTROL OF THE IMAGE. BUT I 00:22:32.486 --> 00:22:33.986 >> SO, HE WOULDN'T HAVE LOST CONTROL OF THE IMAGE. BUT I THINK HE WOULD HAVE BEEN 00:22:33.988 --> 00:22:36.221 CONTROL OF THE IMAGE. BUT I THINK HE WOULD HAVE BEEN FASCINATED WITH THE PROCESS. 00:22:36.223 --> 00:22:38.023 THINK HE WOULD HAVE BEEN FASCINATED WITH THE PROCESS. >> WELL, WE'RE STANDING HERE. 00:22:38.025 --> 00:22:39.658 FASCINATED WITH THE PROCESS. >> WELL, WE'RE STANDING HERE. WE'VE BOTH GOT OUR CAMERAS OUT. 00:22:39.660 --> 00:22:41.560 >> WELL, WE'RE STANDING HERE. WE'VE BOTH GOT OUR CAMERAS OUT. WE'RE BOTH GOING TO TAKE DIGITAL 00:22:41.562 --> 00:22:45.597 WE'VE BOTH GOT OUR CAMERAS OUT. WE'RE BOTH GOING TO TAKE DIGITAL PICTURES. 00:22:45.599 --> 00:22:48.734 WE'RE BOTH GOING TO TAKE DIGITAL PICTURES. I'VE GOT MINE. I'VE GOT KIND OF 00:22:48.736 --> 00:22:50.002 PICTURES. I'VE GOT MINE. I'VE GOT KIND OF A WIDE SHOT. 00:22:50.004 --> 00:22:50.869 I'VE GOT MINE. I'VE GOT KIND OF A WIDE SHOT. >> I DID TOO. 00:22:50.871 --> 00:22:52.504 A WIDE SHOT. >> I DID TOO. >> 2 WIDE SHOTS. 00:22:52.506 --> 00:22:53.806 >> I DID TOO. >> 2 WIDE SHOTS. >> 2 WIDE SHOTS. 00:22:53.808 --> 00:22:56.275 >> 2 WIDE SHOTS. >> 2 WIDE SHOTS. >> LOOKING OUT AT HALF DOME AND 00:22:56.277 --> 00:23:00.012 >> 2 WIDE SHOTS. >> LOOKING OUT AT HALF DOME AND EL CAPITAN. 00:23:00.014 --> 00:23:01.447 >> LOOKING OUT AT HALF DOME AND EL CAPITAN. NOW, WE'VE COME UP INTO HIGH 00:23:01.449 --> 00:23:03.182 EL CAPITAN. NOW, WE'VE COME UP INTO HIGH COUNTRY. AND WHAT ARE WE LOOKING 00:23:03.184 --> 00:23:04.583 NOW, WE'VE COME UP INTO HIGH COUNTRY. AND WHAT ARE WE LOOKING AT OUT HERE, MICHAEL? 00:23:04.585 --> 00:23:06.885 COUNTRY. AND WHAT ARE WE LOOKING AT OUT HERE, MICHAEL? >> WE'RE LOOKING AT THE LILLOET 00:23:06.887 --> 00:23:08.854 AT OUT HERE, MICHAEL? >> WE'RE LOOKING AT THE LILLOET CANYON. AND WE'RE LOOKING ACROSS 00:23:08.856 --> 00:23:11.523 >> WE'RE LOOKING AT THE LILLOET CANYON. AND WE'RE LOOKING ACROSS AT MT. STARR KING, CLOSE TO US. 00:23:11.525 --> 00:23:12.791 CANYON. AND WE'RE LOOKING ACROSS AT MT. STARR KING, CLOSE TO US. THIS DOME RIGHT OUT HERE. 00:23:12.793 --> 00:23:14.560 AT MT. STARR KING, CLOSE TO US. THIS DOME RIGHT OUT HERE. AND THEN WE'RE LOOKING AT THE 00:23:14.562 --> 00:23:16.261 THIS DOME RIGHT OUT HERE. AND THEN WE'RE LOOKING AT THE CLARK RANGE. THERE'S A WHOLE 00:23:16.263 --> 00:23:17.363 AND THEN WE'RE LOOKING AT THE CLARK RANGE. THERE'S A WHOLE SERIES OF MOUNTAINS STARTING 00:23:17.365 --> 00:23:18.597 CLARK RANGE. THERE'S A WHOLE SERIES OF MOUNTAINS STARTING WITH MT. CLARK ON THE END AND 00:23:18.599 --> 00:23:20.933 SERIES OF MOUNTAINS STARTING WITH MT. CLARK ON THE END AND GOING BACK INTO THE DISTANCE 00:23:20.935 --> 00:23:21.767 WITH MT. CLARK ON THE END AND GOING BACK INTO THE DISTANCE THERE. 00:23:21.769 --> 00:23:22.901 GOING BACK INTO THE DISTANCE THERE. >> NOW, WE'RE ALSO LOOKING AT 00:23:22.903 --> 00:23:25.604 THERE. >> NOW, WE'RE ALSO LOOKING AT KIND OF A SIDE VIEW OF HALF 00:23:25.606 --> 00:23:26.705 >> NOW, WE'RE ALSO LOOKING AT KIND OF A SIDE VIEW OF HALF DOME, WHICH I'VE NEVER BEEN 00:23:26.707 --> 00:23:28.607 KIND OF A SIDE VIEW OF HALF DOME, WHICH I'VE NEVER BEEN TO--WHAT IS THIS PARTICULAR 00:23:28.609 --> 00:23:30.209 DOME, WHICH I'VE NEVER BEEN TO--WHAT IS THIS PARTICULAR LOCATION CALLED? 00:23:30.211 --> 00:23:31.310 TO--WHAT IS THIS PARTICULAR LOCATION CALLED? >> THIS IS WASHBURN POINT. AND 00:23:31.312 --> 00:23:32.511 LOCATION CALLED? >> THIS IS WASHBURN POINT. AND YOU'RE LOOKING AT HALF DOME FROM 00:23:32.513 --> 00:23:34.346 >> THIS IS WASHBURN POINT. AND YOU'RE LOOKING AT HALF DOME FROM THE EDGE. YOU'RE LOOKING 00:23:34.348 --> 00:23:36.648 YOU'RE LOOKING AT HALF DOME FROM THE EDGE. YOU'RE LOOKING ACROSS AT THE SHOULDER THAT 00:23:36.650 --> 00:23:38.150 THE EDGE. YOU'RE LOOKING ACROSS AT THE SHOULDER THAT GOES UP ON HALF DOME. AND RIGHT 00:23:38.152 --> 00:23:39.485 ACROSS AT THE SHOULDER THAT GOES UP ON HALF DOME. AND RIGHT NEAR THE EDGE, THAT KNIFE EDGE, 00:23:39.487 --> 00:23:41.153 GOES UP ON HALF DOME. AND RIGHT NEAR THE EDGE, THAT KNIFE EDGE, IT'S CALLED THE DIVING BOARD. 00:23:41.155 --> 00:23:43.255 NEAR THE EDGE, THAT KNIFE EDGE, IT'S CALLED THE DIVING BOARD. AND THAT'S WHERE THAT SORT OF 00:23:43.257 --> 00:23:44.556 IT'S CALLED THE DIVING BOARD. AND THAT'S WHERE THAT SORT OF ICONIC PHOTOGRAPH OF ANSEL'S 00:23:44.558 --> 00:23:45.691 AND THAT'S WHERE THAT SORT OF ICONIC PHOTOGRAPH OF ANSEL'S "THE MONOLITH." 00:23:45.693 --> 00:23:46.658 ICONIC PHOTOGRAPH OF ANSEL'S "THE MONOLITH." >> THE SIDE! 00:23:46.660 --> 00:23:48.427 "THE MONOLITH." >> THE SIDE! >> OF THE SIDE IN 1927. THAT'S 00:23:48.429 --> 00:23:49.828 >> THE SIDE! >> OF THE SIDE IN 1927. THAT'S WHERE HE WAS STANDING TO TAKE 00:23:49.830 --> 00:23:50.729 >> OF THE SIDE IN 1927. THAT'S WHERE HE WAS STANDING TO TAKE THAT PICTURE. 00:23:50.731 --> 00:23:52.831 WHERE HE WAS STANDING TO TAKE THAT PICTURE. >> NOW, HE ALSO WAS STANDING AND 00:23:52.833 --> 00:23:55.334 THAT PICTURE. >> NOW, HE ALSO WAS STANDING AND TRAVELING THROUGH THIS WHOLE 00:23:55.336 --> 00:23:57.202 >> NOW, HE ALSO WAS STANDING AND TRAVELING THROUGH THIS WHOLE AREA HERE, WASN'T HE? 00:23:57.204 --> 00:23:59.304 TRAVELING THROUGH THIS WHOLE AREA HERE, WASN'T HE? >> THIS IS AN AREA THAT WAS VERY 00:23:59.306 --> 00:24:00.773 AREA HERE, WASN'T HE? >> THIS IS AN AREA THAT WAS VERY CLOSE TO YOSEMITE VALLEY, 00:24:00.775 --> 00:24:02.775 >> THIS IS AN AREA THAT WAS VERY CLOSE TO YOSEMITE VALLEY, EASILY ACCESSED IN THE SUMMER ON 00:24:02.777 --> 00:24:05.210 CLOSE TO YOSEMITE VALLEY, EASILY ACCESSED IN THE SUMMER ON SHORT HIKES OR EVEN LONG HIKES. 00:24:05.212 --> 00:24:05.944 EASILY ACCESSED IN THE SUMMER ON SHORT HIKES OR EVEN LONG HIKES. BECAUSE IT WAS A DAY OR 2 INTO 00:24:05.946 --> 00:24:07.579 SHORT HIKES OR EVEN LONG HIKES. BECAUSE IT WAS A DAY OR 2 INTO THE BACKCOUNTRY HERE TO GET ALL 00:24:07.581 --> 00:24:09.281 BECAUSE IT WAS A DAY OR 2 INTO THE BACKCOUNTRY HERE TO GET ALL THE WAY BACK TO THAT RANGE. 00:24:09.283 --> 00:24:11.650 THE BACKCOUNTRY HERE TO GET ALL THE WAY BACK TO THAT RANGE. >> SO, THE CLARK RANGE--I'M NOT 00:24:11.652 --> 00:24:13.318 THE WAY BACK TO THAT RANGE. >> SO, THE CLARK RANGE--I'M NOT FAMILIAR WITH ANY OF THOSE 00:24:13.320 --> 00:24:14.420 >> SO, THE CLARK RANGE--I'M NOT FAMILIAR WITH ANY OF THOSE PHOTOGRAPHS. DID HE TAKE A LOT 00:24:14.422 --> 00:24:15.521 FAMILIAR WITH ANY OF THOSE PHOTOGRAPHS. DID HE TAKE A LOT OF PHOTOGRAPHS? 00:24:15.523 --> 00:24:17.022 PHOTOGRAPHS. DID HE TAKE A LOT OF PHOTOGRAPHS? >> YES. AND I CAN SHOW YOU 00:24:17.024 --> 00:24:18.457 OF PHOTOGRAPHS? >> YES. AND I CAN SHOW YOU SEVERAL OF MT. CLARK FROM 00:24:18.459 --> 00:24:20.659 >> YES. AND I CAN SHOW YOU SEVERAL OF MT. CLARK FROM DIFFERENT DIRECTIONS THAT ARE 00:24:20.661 --> 00:24:21.660 SEVERAL OF MT. CLARK FROM DIFFERENT DIRECTIONS THAT ARE PRETTY SPECTACULAR. 00:24:21.662 --> 00:24:23.429 DIFFERENT DIRECTIONS THAT ARE PRETTY SPECTACULAR. >> SO, HE LIKED BEING IN THE-- 00:24:23.431 --> 00:24:25.264 PRETTY SPECTACULAR. >> SO, HE LIKED BEING IN THE-- I MEAN, WE'VE SPENT MOST OF OUR 00:24:25.266 --> 00:24:26.999 >> SO, HE LIKED BEING IN THE-- I MEAN, WE'VE SPENT MOST OF OUR TIME ON THE VALLEY FLOOR. HE 00:24:27.001 --> 00:24:28.634 I MEAN, WE'VE SPENT MOST OF OUR TIME ON THE VALLEY FLOOR. HE TOOK A LOT OF ICONIC PHOTOGRAPHS 00:24:28.636 --> 00:24:31.203 TIME ON THE VALLEY FLOOR. HE TOOK A LOT OF ICONIC PHOTOGRAPHS THERE. BUT HE ALSO LIKED BEING 00:24:31.205 --> 00:24:32.738 TOOK A LOT OF ICONIC PHOTOGRAPHS THERE. BUT HE ALSO LIKED BEING IN THE BACKCOUNTRY. 00:24:32.740 --> 00:24:34.006 THERE. BUT HE ALSO LIKED BEING IN THE BACKCOUNTRY. >> HE LIKED THE BACKCOUNTRY. AND 00:24:34.008 --> 00:24:35.507 IN THE BACKCOUNTRY. >> HE LIKED THE BACKCOUNTRY. AND I THINK THAT HE LIKED IT MORE 00:24:35.509 --> 00:24:37.209 >> HE LIKED THE BACKCOUNTRY. AND I THINK THAT HE LIKED IT MORE THAN IN THE VALLEY. 00:24:37.211 --> 00:24:38.444 I THINK THAT HE LIKED IT MORE THAN IN THE VALLEY. >> WHY IS THAT? 00:24:38.446 --> 00:24:39.411 THAN IN THE VALLEY. >> WHY IS THAT? >> WELL, IT WAS JUST A FRIENDLY 00:24:39.413 --> 00:24:41.113 >> WHY IS THAT? >> WELL, IT WAS JUST A FRIENDLY PLACE TO BE. IT WAS A WONDERFUL 00:24:41.115 --> 00:24:43.015 >> WELL, IT WAS JUST A FRIENDLY PLACE TO BE. IT WAS A WONDERFUL PLACE TO SIT, TO SLEEP, TO 00:24:43.017 --> 00:24:44.683 PLACE TO BE. IT WAS A WONDERFUL PLACE TO SIT, TO SLEEP, TO PHOTOGRAPH. THE WEATHER WAS 00:24:44.685 --> 00:24:46.585 PLACE TO SIT, TO SLEEP, TO PHOTOGRAPH. THE WEATHER WAS DELIGHTFUL IN THE SUMMERS. AND 00:24:46.587 --> 00:24:48.687 PHOTOGRAPH. THE WEATHER WAS DELIGHTFUL IN THE SUMMERS. AND IT WAS THRILLING TO HIM. AND HE 00:24:48.689 --> 00:24:49.988 DELIGHTFUL IN THE SUMMERS. AND IT WAS THRILLING TO HIM. AND HE SPENT A LOT OF TIME IN THE 00:24:49.990 --> 00:24:51.290 IT WAS THRILLING TO HIM. AND HE SPENT A LOT OF TIME IN THE BACKCOUNTRY NOT ONLY OF YOSEMITE 00:24:51.292 --> 00:24:53.225 SPENT A LOT OF TIME IN THE BACKCOUNTRY NOT ONLY OF YOSEMITE BUT IN SOUTH OF HERE, IN THE 00:24:53.227 --> 00:24:54.860 BACKCOUNTRY NOT ONLY OF YOSEMITE BUT IN SOUTH OF HERE, IN THE KING'S RIVER CANYON, 00:24:54.862 --> 00:24:56.362 BUT IN SOUTH OF HERE, IN THE KING'S RIVER CANYON, SEQUOIA NATIONAL PARK, THE KERN 00:24:56.364 --> 00:24:57.062 KING'S RIVER CANYON, SEQUOIA NATIONAL PARK, THE KERN RIVER CANYON AND THE 00:24:57.064 --> 00:24:59.198 SEQUOIA NATIONAL PARK, THE KERN RIVER CANYON AND THE [INDISTINCT] AREAS. SO, THIS WAS 00:24:59.200 --> 00:25:00.699 RIVER CANYON AND THE [INDISTINCT] AREAS. SO, THIS WAS ONLY A LITTLE PART OF IT. 00:25:00.701 --> 00:25:02.768 [INDISTINCT] AREAS. SO, THIS WAS ONLY A LITTLE PART OF IT. >> NOW, YOU SPENT A LOT OF TIME 00:25:02.770 --> 00:25:05.304 ONLY A LITTLE PART OF IT. >> NOW, YOU SPENT A LOT OF TIME WITH HIM ON THESE TRIPS. 00:25:05.306 --> 00:25:07.740 >> NOW, YOU SPENT A LOT OF TIME WITH HIM ON THESE TRIPS. >> I DID FROM AN EARLY AGE, 00:25:07.742 --> 00:25:10.275 WITH HIM ON THESE TRIPS. >> I DID FROM AN EARLY AGE, GOING ALONG AS SORT OF A LITTLE 00:25:10.277 --> 00:25:12.378 >> I DID FROM AN EARLY AGE, GOING ALONG AS SORT OF A LITTLE KID BEING SHOWN THINGS TO LATER 00:25:12.380 --> 00:25:14.480 GOING ALONG AS SORT OF A LITTLE KID BEING SHOWN THINGS TO LATER ON BEING WHAT I CALLED A CAMERA 00:25:14.482 --> 00:25:16.515 KID BEING SHOWN THINGS TO LATER ON BEING WHAT I CALLED A CAMERA BEARER. HELPING HIM CARRY 00:25:16.517 --> 00:25:18.283 ON BEING WHAT I CALLED A CAMERA BEARER. HELPING HIM CARRY CAMERAS ON VARIOUS TRIPS. 00:25:18.285 --> 00:25:19.518 BEARER. HELPING HIM CARRY CAMERAS ON VARIOUS TRIPS. >> DIDN'T GET PAID TO DO THAT, 00:25:19.520 --> 00:25:20.219 CAMERAS ON VARIOUS TRIPS. >> DIDN'T GET PAID TO DO THAT, DID YA? 00:25:20.221 --> 00:25:21.487 >> DIDN'T GET PAID TO DO THAT, DID YA? >> DIDN'T GET PAID. BUT I WOULD 00:25:21.489 --> 00:25:22.621 DID YA? >> DIDN'T GET PAID. BUT I WOULD DO IT WITH HIM ON PACK TRIPS 00:25:22.623 --> 00:25:25.824 >> DIDN'T GET PAID. BUT I WOULD DO IT WITH HIM ON PACK TRIPS WITH BURROS OR TRIPS IN THE CAR, 00:25:25.826 --> 00:25:26.992 DO IT WITH HIM ON PACK TRIPS WITH BURROS OR TRIPS IN THE CAR, ESPECIALLY DOWN TO THE SOUTHWEST 00:25:26.994 --> 00:25:28.460 WITH BURROS OR TRIPS IN THE CAR, ESPECIALLY DOWN TO THE SOUTHWEST OF THE UNITED STATES, I WENT 00:25:28.462 --> 00:25:29.528 ESPECIALLY DOWN TO THE SOUTHWEST OF THE UNITED STATES, I WENT WITH HIM ON A NUMBER. 00:25:29.530 --> 00:25:30.829 OF THE UNITED STATES, I WENT WITH HIM ON A NUMBER. >> SO, YOU WERE KIND OF A 00:25:30.831 --> 00:25:32.431 WITH HIM ON A NUMBER. >> SO, YOU WERE KIND OF A CAMERAMAN'S ASSISTANT AS A YOUNG 00:25:32.433 --> 00:25:34.033 >> SO, YOU WERE KIND OF A CAMERAMAN'S ASSISTANT AS A YOUNG BOY. 00:25:34.035 --> 00:25:34.700 CAMERAMAN'S ASSISTANT AS A YOUNG BOY. >> UNPAID. 00:25:34.702 --> 00:25:36.201 BOY. >> UNPAID. >> AND CAN YOU REMEMBER ANY OF 00:25:36.203 --> 00:25:39.405 >> UNPAID. >> AND CAN YOU REMEMBER ANY OF THESE EARLY YOSEMITE EXPERIENCES 00:25:39.407 --> 00:25:41.006 >> AND CAN YOU REMEMBER ANY OF THESE EARLY YOSEMITE EXPERIENCES WITH YOUR DAD? BECAUSE I KNOW 00:25:41.008 --> 00:25:43.909 THESE EARLY YOSEMITE EXPERIENCES WITH YOUR DAD? BECAUSE I KNOW YOU WERE BORN AND RAISED HERE. 00:25:43.911 --> 00:25:45.144 WITH YOUR DAD? BECAUSE I KNOW YOU WERE BORN AND RAISED HERE. YOU'VE SPENT YOUR WHOLE LIFE 00:25:45.146 --> 00:25:46.178 YOU WERE BORN AND RAISED HERE. YOU'VE SPENT YOUR WHOLE LIFE HERE . 00:25:46.180 --> 00:25:48.447 YOU'VE SPENT YOUR WHOLE LIFE HERE . >> I REMEMBER VAGUELY--THE MOST 00:25:48.449 --> 00:25:50.582 HERE . >> I REMEMBER VAGUELY--THE MOST IMPORTANT THING WAS MY FIRST 00:25:50.584 --> 00:25:51.750 >> I REMEMBER VAGUELY--THE MOST IMPORTANT THING WAS MY FIRST CAMPING TRIP. HE TOOK ME UP TO 00:25:51.752 --> 00:25:53.452 IMPORTANT THING WAS MY FIRST CAMPING TRIP. HE TOOK ME UP TO TUOLUMNE MEADOWS. WE WENT OUT BY 00:25:53.454 --> 00:25:54.920 CAMPING TRIP. HE TOOK ME UP TO TUOLUMNE MEADOWS. WE WENT OUT BY TALGA PASS AND CAMPED BY A 00:25:54.922 --> 00:25:56.789 TUOLUMNE MEADOWS. WE WENT OUT BY TALGA PASS AND CAMPED BY A LITTLE LAKE. AND THE NEXT 00:25:56.791 --> 00:25:58.323 TALGA PASS AND CAMPED BY A LITTLE LAKE. AND THE NEXT MORNING I FELL OFF A LOG INTO 00:25:58.325 --> 00:25:59.792 LITTLE LAKE. AND THE NEXT MORNING I FELL OFF A LOG INTO THE FREEZING WATER. THAT I 00:25:59.794 --> 00:26:01.493 MORNING I FELL OFF A LOG INTO THE FREEZING WATER. THAT I REMEMBER VERY WELL. AND I FOUND 00:26:01.495 --> 00:26:03.228 THE FREEZING WATER. THAT I REMEMBER VERY WELL. AND I FOUND OUT LATER BECAUSE I GOT SOME 00:26:03.230 --> 00:26:04.863 REMEMBER VERY WELL. AND I FOUND OUT LATER BECAUSE I GOT SOME DATED PHOTOGRAPHS, THAT WAS 00:26:04.865 --> 00:26:07.199 OUT LATER BECAUSE I GOT SOME DATED PHOTOGRAPHS, THAT WAS IN 1938. I MUST HAVE BEEN 5 OR 6 00:26:07.201 --> 00:26:07.966 DATED PHOTOGRAPHS, THAT WAS IN 1938. I MUST HAVE BEEN 5 OR 6 YEARS OLD. 00:26:07.968 --> 00:26:09.968 IN 1938. I MUST HAVE BEEN 5 OR 6 YEARS OLD. >> DID HE KNOW AND FULLY 00:26:09.970 --> 00:26:11.770 YEARS OLD. >> DID HE KNOW AND FULLY UNDERSTAND THE POWER OF THE 00:26:11.772 --> 00:26:14.173 >> DID HE KNOW AND FULLY UNDERSTAND THE POWER OF THE PICTURES HE WAS TAKING? 00:26:14.175 --> 00:26:15.641 UNDERSTAND THE POWER OF THE PICTURES HE WAS TAKING? >> I DON'T KNOW. BUT I THINK 00:26:15.643 --> 00:26:18.344 PICTURES HE WAS TAKING? >> I DON'T KNOW. BUT I THINK THAT IT WAS BROUGHT OUT WHEN 00:26:18.346 --> 00:26:20.546 >> I DON'T KNOW. BUT I THINK THAT IT WAS BROUGHT OUT WHEN THEY DEDICATED MT. ANSEL ADAMS, 00:26:20.548 --> 00:26:22.147 THAT IT WAS BROUGHT OUT WHEN THEY DEDICATED MT. ANSEL ADAMS, A YEAR AFTER HE PASSED AWAY. IN 00:26:22.149 --> 00:26:24.049 THEY DEDICATED MT. ANSEL ADAMS, A YEAR AFTER HE PASSED AWAY. IN TUOLUMNE MEADOWS THERE WAS AN 00:26:24.051 --> 00:26:25.918 A YEAR AFTER HE PASSED AWAY. IN TUOLUMNE MEADOWS THERE WAS AN EVENT. AND WALLACE STEGNER, THE 00:26:25.920 --> 00:26:26.985 TUOLUMNE MEADOWS THERE WAS AN EVENT. AND WALLACE STEGNER, THE AUTHOR FROM STANFORD, CAME AND 00:26:26.987 --> 00:26:29.121 EVENT. AND WALLACE STEGNER, THE AUTHOR FROM STANFORD, CAME AND TALKED ABOUT THE 2 GREAT POETS 00:26:29.123 --> 00:26:31.590 AUTHOR FROM STANFORD, CAME AND TALKED ABOUT THE 2 GREAT POETS OF YOSEMITE. FIRST JOHN MUIR AND 00:26:31.592 --> 00:26:33.525 TALKED ABOUT THE 2 GREAT POETS OF YOSEMITE. FIRST JOHN MUIR AND SECONDLY ANSEL ADAMS. AND HE 00:26:33.527 --> 00:26:36.395 OF YOSEMITE. FIRST JOHN MUIR AND SECONDLY ANSEL ADAMS. AND HE FELT THAT THIS PLACE, 00:26:36.397 --> 00:26:37.529 SECONDLY ANSEL ADAMS. AND HE FELT THAT THIS PLACE, TALKING ABOUT YOSEMITE, WAS 00:26:37.531 --> 00:26:39.765 FELT THAT THIS PLACE, TALKING ABOUT YOSEMITE, WAS PROBABLY BETTER UNDERSTOOD AS A 00:26:39.767 --> 00:26:43.102 TALKING ABOUT YOSEMITE, WAS PROBABLY BETTER UNDERSTOOD AS A RESULT OF THESE 2 GREAT POETS OF 00:26:43.104 --> 00:26:45.437 PROBABLY BETTER UNDERSTOOD AS A RESULT OF THESE 2 GREAT POETS OF THIS AREA OVER MANY YEARS