almost anyone else the story recounted here. Ray was this book’s necessary and loyal champion, and I am forever indebted to him. I so clearly remember his phone call after he read my original draft for this biography. He said, “OK. You’ve gotten that out of your system, now start again.” As difficult as that was to hear, following a good cry, I began from scratch.
When this book was originally published in 1996, it found an appreciative readership. I was over the moon by the positive critical reviews as well as the letters and e-mails I still receive from new readers. But, eventually it went out of print. I am extremely grateful to Victoria Shoemaker, who loved my biography of Ansel Adams for years and insisted it must be returned to print in a completely updated and revised edition. Victoria defines what it is to be the best literary agent.
Victoria found a great advocate in Anton Mueller, senior editor at Bloomsbury, who is knowledgeable about photographic history and passionate about the book projects he undertakes. In every instance, the people who are Bloomsbury have been consummate professionals and thus easy to work with. I thank Rachel Mannheimer, editor; Patti Ratchford, the director of design; and production editor Nikki Baldauf, who supported me and this book in many ways.
For their perceptive and caring support, I am grateful to Tim Franklin, Lee Goldman, M.D., Tom Bertolli, M.D., and Lester Jacobson, M.D., who have helped me through life’s medical challenges with their intellect and kindness.
Our children, Jasmine, Jesse, and Zachary, always seemed to understand about their working mom. Although during my years with Ansel and company I was often too engrossed in my job, they have never once criticized me for being less than they needed. For this book, both Jasmine, who is now an associate professor at the University of Wisconsin, Milwaukee, and Zachary, an attorney specializing in intellectual property, provided essential research at various university libraries. Each also read the manuscript more than once and improved the book immensely. Jasmine’s essential research on photography and the incarceration of Japanese American citizens during World War II, published in her 2009 book, Moving Images , expanded and deepened my understanding of this tragic and critical period in American history and the important involvement of Ansel and other photographers.
Central both to this book and to my life is my husband, Jim. For years I flopped along on the text, making slight progress in fits and starts as I wrote in the off hours from my paid job; then, Jim gave me the gift of time, the only thing that would allow me to complete the book and then years later to fully revise it. Without Jim, I would not be in photography. Without Jim, I might be stuck back at the Walter Keane level of art appreciation. Without Jim, I would be a lesser version of me. Jim continues to work as a full-time photographer, with two books of his photographs published in 2013, and has directed his photography gallery (Alinder Gallery) for the past twenty-four years. Jim not only has read each draft but has been involved with every aspect of the manuscript. He has taken charge of all the photographs reproduced here. Ansel would not have come into my life without Jim, and neither would have this book.
And finally, somehow, I must thank Ansel himself, though words cannot come close. I do know the debt I owe him as my teacher and my friend. He will never leave me, and I can never leave him.
Mary Street Alinder
July 2014
Photo Credits
The author and publisher deeply appreciate the permission given by the following individuals and institutions to reproduce the following photographs:
© 1984 Jim Alinder: Ansel Adams, February 1984 ; © 1982 Jim Alinder, Ansel and His Half Dome 80 th Birthday Cake , 1982; © 1981 Jim Alinder, Ansel with Two Moonrises, in the Gallery of His Home, Carmel Highlands, California , 1981; © 1981 Jim
When this book was originally published in 1996, it found an appreciative readership. I was over the moon by the positive critical reviews as well as the letters and e-mails I still receive from new readers. But, eventually it went out of print. I am extremely grateful to Victoria Shoemaker, who loved my biography of Ansel Adams for years and insisted it must be returned to print in a completely updated and revised edition. Victoria defines what it is to be the best literary agent.
Victoria found a great advocate in Anton Mueller, senior editor at Bloomsbury, who is knowledgeable about photographic history and passionate about the book projects he undertakes. In every instance, the people who are Bloomsbury have been consummate professionals and thus easy to work with. I thank Rachel Mannheimer, editor; Patti Ratchford, the director of design; and production editor Nikki Baldauf, who supported me and this book in many ways.
For their perceptive and caring support, I am grateful to Tim Franklin, Lee Goldman, M.D., Tom Bertolli, M.D., and Lester Jacobson, M.D., who have helped me through life’s medical challenges with their intellect and kindness.
Our children, Jasmine, Jesse, and Zachary, always seemed to understand about their working mom. Although during my years with Ansel and company I was often too engrossed in my job, they have never once criticized me for being less than they needed. For this book, both Jasmine, who is now an associate professor at the University of Wisconsin, Milwaukee, and Zachary, an attorney specializing in intellectual property, provided essential research at various university libraries. Each also read the manuscript more than once and improved the book immensely. Jasmine’s essential research on photography and the incarceration of Japanese American citizens during World War II, published in her 2009 book, Moving Images , expanded and deepened my understanding of this tragic and critical period in American history and the important involvement of Ansel and other photographers.
Central both to this book and to my life is my husband, Jim. For years I flopped along on the text, making slight progress in fits and starts as I wrote in the off hours from my paid job; then, Jim gave me the gift of time, the only thing that would allow me to complete the book and then years later to fully revise it. Without Jim, I would not be in photography. Without Jim, I might be stuck back at the Walter Keane level of art appreciation. Without Jim, I would be a lesser version of me. Jim continues to work as a full-time photographer, with two books of his photographs published in 2013, and has directed his photography gallery (Alinder Gallery) for the past twenty-four years. Jim not only has read each draft but has been involved with every aspect of the manuscript. He has taken charge of all the photographs reproduced here. Ansel would not have come into my life without Jim, and neither would have this book.
And finally, somehow, I must thank Ansel himself, though words cannot come close. I do know the debt I owe him as my teacher and my friend. He will never leave me, and I can never leave him.
Mary Street Alinder
July 2014
Photo Credits
The author and publisher deeply appreciate the permission given by the following individuals and institutions to reproduce the following photographs:
© 1984 Jim Alinder: Ansel Adams, February 1984 ; © 1982 Jim Alinder, Ansel and His Half Dome 80 th Birthday Cake , 1982; © 1981 Jim Alinder, Ansel with Two Moonrises, in the Gallery of His Home, Carmel Highlands, California , 1981; © 1981 Jim
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