Happy Holidays from all of us at
The Ansel Adams Gallery.
"Do you have a love-hate relationship with Photoshop? You’re not alone. One the one hand, it’s an incredibly powerful tool, capable of doing fantastic things. You know that if you mastered this program you could get the most out of your images and make beautiful prints. On the other hand, Photoshop can be cryptic, complex, and confusing. The learning curve can seem downright crooked.
"I was lucky. When I first started using Photoshop in the late ‘90s, I got to spend a weekend with Bill Atkinson, who probably knew more about digital imaging than anyone else in the world at the time (maybe he still does). He started me in the right direction and helped me avoid the confusion caused by gathering random bits of information from books and the internet. Like Charlie Cramer, Keith Walklet, and many other fine-art photographers Bill taught, I still use a variation of the simple, powerful, and flexible workflow that Bill showed me.
"I’ve since taught Photoshop (and now Lightroom) skills to dozens of people in workshops for West Coast Imaging and The Ansel Adams Gallery. I try to make the complexities of Photoshop easy to understand. The truth is that Photoshop is simple. Anyone can learn to use it. And if you’re already familiar with it, you can learn to harness its full power. The secret is that you don’t have to deal with most of the tools. If you learn to use a few powerful tools well, you can do almost anything in Photoshop.
"My next workshop with The Ansel Adams Gallery, Digital Printing and the Zone System (January 19 - 23, 2010) is designed for people who already have some Photoshop experience but want to master this powerful beast. You'll learn both simple and advanced techniques for getting the most out of your images and making beautiful, fine-art prints. I included the Zone System in the title because getting good exposures in the field is vital to getting good results in Photoshop, so we’ll be working with the entire process, from capture to print. The Zone System also gives us a framework for understanding contrast throughout the workflow—an important tool in this age of HDR. Here’s a partial list of the topics covered:
- Zone System Exposure for Digital Cameras
- Color Management
- Overall workflow
- Raw Image Processing
- Making a Master File
- Using Layers for Flexibility
- Controlling Contrast
- Mastering Curves
- Flexible Dodging and Burning
- Retouching
- Making Difficult Selections Easy
- Converting to Black and White
- Sharpening
- Combining Images for Greater Depth of Field
- Combining Images to Expand Dynamic Range, both with HDR and Photoshop"


Here is a look at Ansel's original contact sheet from the 120 roll film he used in 1960. Notice how his attention wanders a couple of times and that he used more than one lens.Ansel claimed that he had always been moonstruck and had many moons in pictures. This photograph was taken in December of 1960 when in Yosemite to direct the Bracebridge Dinner. It was a cold afternoon with snow on the ground. Ansel was using his Hasselblad camera on a tripod and took a number of photographs using different lenses. The contact prints of the image reveal a number of similar photographs that look wonderful. In 1962 when Jeanne and I married, Ansel offered this image to use as our wedding announcement. Jeanne feels that Ansel took his most exciting images when emotionally engaged and comments: “This was taken my first Christmas with the Adams family and Ansel was particularly happy for Michael and the family.”
It has turned out to be one of Ansel’s most popular and sought after photographs. Ansel stated: “I have photographed Half Dome innumerable times, but it is never the same Half Dome, never the same light or the same mood. I am told by mountaineers that the three most distinctive mountain shapes in the world are the Mustagh Tower in the Karakorams, the Matterhorn in the Alps, and Half Dome in Yosemite. Half Dome is a great mountain with endless variations of lighting and sky situations and seasonal characteristics; the many images I have made reflect my varied creative responses to this remarkable granite monolith.”