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Thursday, July 18, 2024

Sequoia sempervirens

From Wikipedia, the free encyclopedia
Sequoia sempervirens
Sequoia sempervirens along US 199




















Binomial name
Sequoia sempervirens
Natural range of California subfamily Sequoioideae
green - Sequoia sempervirens
Trunk in sectional view
Redwood cone scales begin to open mid November, with seeds dispersing by the wind.

Sequoia sempervirens (/səˈkwɔɪ.ə ˌsɛmpərˈvrənz/) is the sole living species of the genus Sequoia in the cypress family Cupressaceae (formerly treated in Taxodiaceae). Common names include coast redwood, coastal redwood and California redwood. It is an evergreen, long-lived, monoecious tree living 1,200–2,200 years or more. This species includes the tallest living trees on Earth, reaching up to 115.9 m (380.1 ft) in height (without the roots) and up to 8.9 m (29 ft) in diameter at breast height. These trees are also among the longest-living trees on Earth. Before commercial logging and clearing began by the 1850s, this massive tree occurred naturally in an estimated 810,000 ha (2,000,000 acres) along much of coastal California (excluding southern California where rainfall is not sufficient) and the southwestern corner of coastal Oregon within the United States.

The name sequoia sometimes refers to the subfamily Sequoioideae, which includes S. sempervirens along with Sequoiadendron (giant sequoia) and Metasequoia (dawn redwood). Here, the term redwood on its own refers to the species covered in this article but not to the other two species.

Description

The coast redwood normally reaches a height of 60 to 100 m (200 to 330 ft), but will be more than 110 m (360 ft) in extraordinary circumstances, with a trunk diameter of 9 m (30 ft). It has a conical crown, with horizontal to slightly drooping branches. The trunk is remarkably straight. The bark can be very thick, up to 35 cm (1.15 ft), and quite soft and fibrous, with a bright red-brown color when freshly exposed (hence the name redwood), weathering darker. The root system is composed of shallow, wide-spreading lateral roots.

The leaves are variable, being 15–25 mm (58–1 in) long and flat on young trees and shaded lower branches in older trees. The leaves are scalelike, 5–10 mm (1438 in) long on shoots in full sun in the upper crown of older trees, with a full range of transition between the two extremes. They are dark green above and have two blue-white stomatal bands below. Leaf arrangement is spiral, but the larger shade leaves are twisted at the base to lie in a flat plane for maximum light capture.

The species is monoecious, with pollen and seed cones on the same plant. The seed cones are ovoid, 15–32 mm (9161+14 in) long, with 15–25 spirally arranged scales; pollination is in late winter with maturation about 8–9 months after. Each cone scale bears three to seven seeds, each seed 3–4 mm (18316 in) long and 0.5 mm (132 in) broad, with two wings 1 mm (116 in) wide. The seeds are released when the cone scales dry and open at maturity. The pollen cones are ovular and 4–6 mm (31614 in) long.

Its genetic makeup is unusual among conifers, being a hexaploid (6n) and possibly allopolyploid (AAAABB). Both the mitochondrial and chloroplast genomes of the redwood are paternally inherited.

Taxonomy

Scottish botanist David Don described the redwood as Taxodium sempervirens, the "evergreen Taxodium", in his colleague Aylmer Bourke Lambert's 1824 work A description of the genus Pinus. Austrian botanist Stephan Endlicher erected the genus Sequoia in his 1847 work Synopsis coniferarum, giving the redwood its current binomial name of Sequoia sempervirens. It is unknown how Endlicher derived the name Sequoia. See Sequoia Etymology.

The redwood is one of three living species, each in its own genus, in the subfamily Sequoioideae. Molecular studies have shown that the three are each other's closest relatives, generally with the redwood and giant sequoia (Sequoiadendron giganteum) as each other's closest relatives.

However, Yang and colleagues in 2010 queried the polyploid state of the redwood and speculate that it may have arisen as an ancient hybrid between ancestors of the giant sequoia and dawn redwood (Metasequoia). Using two different single copy nuclear genes, LFY and NLY, to generate phylogenetic trees, they found that Sequoia was clustered with Metasequoia in the tree generated using the LFY gene, but with Sequoiadendron in the tree generated with the NLY gene. Further analysis strongly supported the hypothesis that Sequoia was the result of a hybridization event involving Metasequoia and Sequoiadendron. Thus, Yang and colleagues hypothesize that the inconsistent relationships among Metasequoia, Sequoia, and Sequoiadendron could be a sign of reticulate evolution (in which two species hybridize and give rise to a third) among the three genera. However, the long evolutionary history of the three genera (the earliest fossil remains being from the Jurassic) make resolving the specifics of when and how Sequoia originated once and for all a difficult matter—especially since it in part depends on an incomplete fossil record.

Names

The species name "sempervirens" means "evergreen", thought to be because of its previous placement in the same genus as Taxodium distichum (baldcypress) of the southeastern USA. Unlike coast redwood, baldcypress loses its leaves in winter. The common name "redwood", applied to both the coast redwood and the giant redwood, is a reference to the red heartwood of the trees. Common names that refer to Sequoia sempervirens alone include "California redwood", "coastal redwood", "coastal sequoia", and "coast redwood".

Distribution and habitat

Coast redwoods occupy a narrow strip of land approximately 750 km (470 mi) in length and 8–75 km (5–47 mi) in width along the Pacific coast of North America; the most southerly grove is in Monterey County, California, and the most northerly groves are in extreme southwestern Oregon. The prevailing elevation range is 30–750 m (100–2,460 ft) above sea level, occasionally down to 0 and up to about 900 m (3,000 ft). They usually grow in the mountains where precipitation from the incoming moisture off the ocean is greater. The tallest and oldest trees are found in deep valleys and gullies, where year-round streams can flow, and fog drip is regular. The terrain also made it harder for loggers to get to the trees and to get them out after felling. The trees above the fog layer, above about 700 m (2,300 ft), are shorter and smaller due to the drier, windier, and colder conditions. In addition, Douglas-fir, pine, and tanoak often crowd out redwoods at these elevations. Few redwoods grow close to the ocean, due to intense salt spray, sand, and wind. Coalescence of coastal fog accounts for a considerable part of the trees' water needs. Fog in the 21st century is, however, reduced from what it was in the prior century, which is a problem that may be compounded by climate change.

Painting of a hillside of redwoods with the edge sun seen behind a hill
Albert Bierstadt, California Redwoods, 1872, Oil on paper mounted on canvas

The northern boundary of its range is marked by two groves on mountain slopes along the north side of the Chetco River, which is on the western fringe of the Klamath Mountains, near the California–Oregon border. The northernmost grove is located within Alfred A. Loeb State Park and Siskiyou National Forest at the approximate coordinates 42°07'36"N 124°12'17"W. The southern boundary of its range is the Los Padres National Forest's Silver Peak Wilderness in the Santa Lucia Mountains of the Big Sur area of Monterey County, California. The southernmost grove is in the Southern Redwood Botanical Area, just north of the national forest's Salmon Creek trailhead and near the San Luis Obispo County line.

The largest and tallest populations are in California's Redwood National and State Parks (Del Norte and Humboldt counties) and Humboldt Redwoods State Park, with the overall majority located in the large Humboldt County.

The ancient range of the genus is considerably greater, with relatives of the coast redwood living in Europe and Asia prior to the Quaternary geologic period. In recent geologic time there have been considerable shifts in the coast redwood's range in North America. Coast redwood bark has been found in the La Brea Tar Pits, showing that 25,000–40,000 years before the present redwood trees grew as far south as the Los Angeles during the last ice age. The authors of a 2022 paper suggest, "Were it not for the remarkable ability to sprout after fire, many southern forests may have lost their Sequoia component long ago." As to previous redwood range to the north, an upright fossil stump of a coast redwood on a beach in central Oregon was documented 257 km north of the current range.

Assisted migration

Coast redwood (2016 photo) planted in Seabeck, WA in 1949.

The ability of Coast Redwood to live for more than a thousand years, along with its unusual capacity to resprout from its root crown when felled by natural or human causes, have earned this species the label of "carbon-sequestration champion." Its potential to contribute toward climate change mitigation, as well as its demonstrated ability to thrive in coastal regions of the Pacific Northwest, led to the formation of a citizen group in Seattle, Washington undertaking assisted migration of this species hundreds of miles north of its native range.

In contrast to cautionary statements made by forestry professionals assessing other tree species for assisted migration, the citizens involved with the group known as PropagationNation had met with little controversy until in 2023 a national news outlet published a lengthy article that cast a favorable light on their efforts. The New York Times Magazine wrote:

Not wanting to cause ecological problems by planting the trees across the Pacific Northwest, [Philip] Stielstra would eventually contact one of the foremost experts on the coast redwood, a botanist and forest ecologist named Stephen Sillett, at Cal Poly Humboldt, and ask if moving redwoods north was safe. Sillett thought planting redwoods around Seattle was a fantastic idea. ("It's not like it's going to escape and become a nuisance species," Sillett told me, before adding, "it just has so many benefits.") Another factor encouraged Stielstra too: Millions of years ago, redwoods — or their close relatives — grew across the Pacific Northwest. By moving them, Stielstra reasoned, he was helping the magnificent trees regain lost territory.

In December 2023, the Associated Press exclusively reported criticism from professionals in the region and nationally: While beginning to favor experiments in assisted population migration of more southerly genetics of the main native timber tree, Douglas-fir, professionals were united against large-scale plantings of California redwoods into the Pacific Northwest. The next month, January 2024, carried a regional news article that, once again, showed strong support as well as bold statements by the group's founder.

Even before the controversy developed in Washington state, professionals in Canada were documenting horticultural plantings of the California species already in place in southwestern British Columbia. In 2022 a Canadian Forestry Service publication used northward horticultural plantings, along with a review of research detailing redwood's paleobiogeography and current range conditions, as grounds for proposing that Canada's Vancouver Island already offered "narrow strips of optimal habitat" for extending the range of coast redwood. The authors point to a topographical "bottleneck" north of the California border that could have impeded northward migration during the Holocene. The bottleneck entails a lack of lowland passages through the Oregon Coast Range north of the Chetco River, coupled with the absence of coastal landscapes beyond storm salt-spray and tsunami inundation — for which this conifer species is highly intolerant.

Ecology

Fog and flood adaptations

Fog is of major importance in coast redwood ecology. Redwood National Park.
Cross section of a Sequoia sempervirens showing tree rings

The native area provides a unique environment with heavy seasonal rains up to 2,500 mm (100 in) annually. Cool coastal air and fog drip keep the forest consistently damp year round. Several factors, including the heavy rainfall, create a soil with fewer nutrients than the trees need, causing them to depend heavily on the entire biotic community of the forest, and making efficient recycling of dead trees especially important. This forest community includes coast Douglas-fir, Pacific madrone, tanoak, western hemlock, and other trees, along with a wide variety of ferns, mosses, mushrooms, and redwood sorrel. Redwood forests provide habitat for a variety of amphibians, birds, mammals, and reptiles. Old-growth redwood stands provide habitat for the federally threatened spotted owl and the California-endangered marbled murrelet.

The height of S. sempervirens is closely tied to fog availability; taller trees become less frequent as fog becomes less frequent. As S. sempervirens' height increases, transporting water via water potential to the leaves becomes increasingly difficult due to gravity. Despite the high rainfall that the region receives (up to 100 cm), the leaves in the upper canopy are perpetually stressed for water. This water stress is exacerbated by long droughts in the summer. Water stress is believed to cause the morphological changes in the leaves, stimulating reduced leaf length and increased leaf succulence. To supplement their water needs, redwoods use frequent summer fog events. Fog water is absorbed through multiple pathways. Leaves directly take in fog from the surrounding air through the epidermal tissue, bypassing the xylem. Coast redwoods also absorb water directly through their bark. The uptake of water through leaves and bark repairs and reduces the severity of xylem embolisms, which occur when cavitations form in the xylem preventing the transport of water and nutrients. Fog may also collect on redwood leaves, drip to the forest floor, and be absorbed by the tree's roots. This fog drip may form 30% of the total water used by a tree in a year.

Redwoods often grow in flood-prone areas. Sediment deposits can form impermeable barriers that suffocate tree roots, and unstable soil in flooded areas often causes trees to lean to one side, increasing the risk of the wind toppling them. Immediately after a flood, redwoods grow their existing roots upwards into recently deposited sediment layers. A second root system then develops from adventitious buds on the newly buried trunk and the old root system dies. To counter lean, redwoods increase wood production on the vulnerable side, creating a supporting buttress. These adaptations create forests of almost exclusively redwood trees in flood-prone regions.

Pest and pathogen resistance

A recently fallen canopy branch reveals thin bark and tunnels made by bark beetle larvae.

Coast redwoods are resistant to insect attack, fungal infection, and rot. These properties are conferred by concentrations of terpenoids and tannic acid in redwood leaves, roots, bark, and wood. Despite these chemical defenses, redwoods are still subject to insect infestations; none, however, are capable of killing a healthy tree. Bark is so thick on the bole that bark beetles cannot enter there. However, the canopy branches have thin bark (see photo at right) that native bark beetles are able to bore into for egg-laying and larval growth via tunnels.

Redwoods also face herbivory from mammals: black bears are reported to consume the inner bark of small redwoods, and black-tailed deer are known to eat redwood sprouts.

The oldest known coast redwood is about 2,200 years old; many others in the wild exceed 600 years. The numerous claims of older redwoods are incorrect. Because of their seemingly timeless lifespans, coast redwoods were deemed the "everlasting redwood" at the turn of the century; in Latin, sempervirens means "ever green" or "everlasting". Redwoods must endure various environmental disturbances to attain such great ages.

Fire adaptations

In response to forest fires, the trees have developed various adaptations. The thick, fibrous bark of coast redwoods is extremely fire-resistant; it grows to at least a foot thick and protects mature trees from fire damage. In addition, the redwoods contain little flammable pitch or resin. Fires, moreover, appear to actually benefit redwoods by causing substantial mortality in competing species, while having only minor effects on redwood. Burned areas are favorable to the successful germination of redwood seeds. A study published in 2010, the first to compare post-wildfire survival and regeneration of redwood and associated species, concluded that fires of all severity increase the relative abundance of redwood, and higher-severity fires provide the greatest benefit.

Two years after the 2020 CZU fire that burned as high as the canopy in Big Basin Redwoods State Park. In addition to the customary sprouting of massive numbers of vertical shoots growing at ground-level around the charred trunks, thick epicormic greenery appears high up on some of the fire-pruned redwoods. (Photos were taken along the old growth loop trail, September 2022.)

Self-pruning of its lower limbs as height is gained is a crucial adaptation to prevent ground fires from rising into the canopy, where branch bark is thin and leaves are vulnerable. In the millions of years that predated human evolution, this level of protection worked well against natural fires originating from lightning strikes.

When the first humans arrived in North America, redwoods thrived in regions where ground fires were intentionally set by indigenous populations on a seasonal basis. However, when peoples arrived from other continents in the past few centuries, indigenous fire practices were disallowed — even in the few places where the first peoples were permitted to continue living. Flammable brush and young trees thus accumulated.

Clearcut logging further hampered a return to a fire-resistant tall canopy. Governmental policies aimed at suppressing all natural and human-caused fires, even in parks and wilderness areas, amplified the accumulation of dense undergrowth and woody debris. Thus, even a naturally occurring ground fire could threaten to spread upwards and become a canopy fire spreading uncontrollably over a widening area.

Reproduction

Lignotuber actively budding.
Lignotuber, Roosevelt Grove.
Basal regrowth after logging.
View upward from the center of an old, logged stump (Freshwater Creek).

Coast redwood reproduces both sexually by seed and asexually by sprouting of buds, layering, or lignotubers. Seed production begins at 10–15 years of age. Cones develop in the winter and mature by fall. In the early stages, the cones look like flowers, and are commonly called "flowers" by professional foresters, although this is not strictly correct. Coast redwoods produce many cones, with redwoods in new forests producing thousands per year. The cones themselves hold 90–150 seeds, but viability of seed is low, typically well below 15% with one estimate of average rates being 3 to 10 percent.The viability does increase with age, trees under 20 years old have a viability of about 1%, and do not generally reach the highest levels of viability until age 250. The rates decrease as the tree starts to get very old, with trees over 1,200 not reaching viability rates over 3%. The low viability may discourage seed predators, which do not want to waste time sorting chaff (empty seeds) from edible seeds. Successful germination often requires a fire or flood, reducing competition for seedlings. The winged seeds are small and light, weighing 3.3–5.0 mg (200–300 seeds/g; 5,600–8,500/ounce). The wings are not effective for wide dispersal, and seeds are dispersed by wind an average of only 60–120 m (200–390 ft) from the parent tree. Seedlings are susceptible to fungal infection and predation by banana slugs, brush rabbits, and nematodes. Most seedlings do not survive their first three years. However, those that become established grow rapidly, with young trees known to reach 20 m (66 ft) tall in 20 years. When canopy space is not available, small trees can remain suppressed for up to 400 years before accelerating their growth rate.

Coast redwoods can also reproduce asexually by layering or sprouting from the root crown, stump, or even fallen branches; if a tree falls over, it generates a row of new trees along the trunk, so many trees naturally grow in a straight line. Sprouts originate from dormant or adventitious buds at or under the surface of the bark. The dormant sprouts are stimulated when the main adult stem gets damaged or starts to die. Many sprouts spontaneously erupt and develop around the circumference of the tree trunk. Within a short period after sprouting, each sprout develops its own root system, with the dominant sprouts forming a ring of trees around the parent root crown or stump. This ring of trees is called a "fairy ring". Sprouts can achieve heights of 2.3 m (7 ft 7 in) in a single growing season.

Redwoods may also reproduce using burls. A burl is a woody lignotuber that commonly appears on a redwood tree below the soil line, though usually within 3 m (10 ft) in depth from the soil surface. Coast redwoods develop burls as seedlings from the axils of their cotyledon, a trait that is extremely rare in conifers. When provoked by damage, dormant buds in the burls sprout new shoots and roots. Burls are also capable of sprouting into new trees when detached from the parent tree, though exactly how this happens is yet to be studied. Shoot clones commonly sprout from burls and are often turned into decorative hedges when found in suburbia.

Cultivation and uses

An example of a bonsai redwood, from the Pacific Bonsai Museum

Coast redwood is one of the most valuable timber species in the lumbering industry. In California, 3,640 km2 (899,000 acres) of redwood forest are logged, virtually all of it second growth. Though many entities have existed in the cutting and management of redwoods, perhaps none has had a more storied role than the Pacific Lumber Company (1863–2008) of Humboldt County, California, where it owned and managed over 810 km2 (200,000 acres) of forests, primarily redwood. Coast redwood lumber is highly valued for its beauty, light weight, and resistance to decay. Its lack of resin makes it absorb water and resist fire.

P. H. Shaughnessy, Chief Engineer of the San Francisco Fire Department wrote:

In the recent great fire of San Francisco, that began April 18th, 1906, we succeeded in finally stopping it in nearly all directions where the unburned buildings were almost entirely of frame construction, and if the exterior finish of these buildings had not been of redwood lumber, I am satisfied that the area of the burned district would have been greatly extended.

Because of its impressive resistance to decay, redwood was extensively used for railroad ties and trestles throughout California. Many of the old ties have been recycled for use in gardens as borders, steps, house beams, etc. Redwood burls are used in the production of table tops, veneers, and turned goods.

The Skyline-to-the-Sea Trail passing through a cut-out in a fallen California redwood tree

The Yurok people, who occupied the region before European settlement, regularly burned ground cover in redwood forests to bolster tanoak populations from which they harvested acorns, to maintain forest openings, and to boost populations of useful plant species such as those for medicine or basketmaking.

Extensive logging of redwoods began in the early nineteenth century. The trees were felled by ax and saw onto beds of tree limbs and shrubs to cushion their fall. Stripped of their bark, the logs were transported to mills or waterways by oxen or horse. Loggers then burned the accumulated tree limbs, shrubs, and bark. The repeated fires favored secondary forests of primarily redwoods as redwood seedlings sprout readily in burned areas. The introduction of steam engines let crews drag logs through long skid trails to nearby railroads, furthering the reach of loggers beyond the land near rivers previously used to transport trees. This method of harvesting, however, disturbed large amounts of soil, producing secondary-growth forests of species other than redwood such as Douglas-fir, grand fir, and western hemlock. After World War II, trucks and tractors gradually replaced steam engines, giving rise to two harvesting approaches: clearcutting and selection harvesting. Clearcutting involved felling all the trees in a particular area. It was encouraged by tax laws that exempted all standing timber from taxation if 70% of trees in the area were harvested.[52] Selection logging, by contrast, called for the removal 25% to 50% of mature trees in the hopes that the remaining trees would allow for future growth and reseeding. This method, however, encouraged growth of other tree species, converting redwood forests into mixed forests of redwood, grand fir, Sitka spruce, and western hemlock. Moreover, the trees left standing were often felled by windthrow; that is, they were often blown over by the wind.

The coast redwood is naturalized in New Zealand, notably at Whakarewarewa Forest, Rotorua. Redwood has been grown in New Zealand plantations for more than 100 years, and those planted in New Zealand have higher growth rates than those in California, mainly because of even rainfall distribution through the year.

Other areas of successful cultivation outside of the native range include Great Britain, Italy, France, Haida Gwaii, middle elevations of Hawaii, Hogsback in South Africa, the Knysna Afromontane forests in the Western Cape, Grootvadersbosch Forest Reserve near Swellendam, South Africa and the Tokai Arboretum on the slopes of Table Mountain above Cape Town, a small area in central Mexico (Jilotepec), and the southeastern United States from eastern Texas to Maryland. It also does well in the Pacific Northwest (Oregon, Washington, and British Columbia), far north of its northernmost native range in southwestern Oregon. Coast redwood trees were used in a display at Rockefeller Center and then given to Longhouse Reserve in East Hampton, Long Island, New York, and these have now been living there for over twenty years and have survived at 2 °F (−17 °C).

This fast-growing tree can be grown as an ornamental specimen in those large parks and gardens that can accommodate its massive size. It has gained the Royal Horticultural Society's Award of Garden Merit.

Statistics

Dried resin
The foliage of an "albino" exhibiting lack of chlorophyll
"Albinos" lack chlorophyll

Fairly solid evidence indicates that coast redwoods were the world's largest trees before logging, with numerous historical specimens reportedly over 122 m (400 ft). The theoretical maximum potential height of coast redwoods is thought to be limited to between 122 and 130 m (400 and 427 ft), as evapotranspiration is insufficient to transport water to leaves beyond this range. Further studies have indicated that this maximum requires fog, which is prevalent in these trees' natural environment.

A tree reportedly 114.3 m (375 ft) in length was felled in Sonoma County by the Murphy Brothers saw mill in the 1870s, another claimed to be 115.8 m (380 ft) and 7.9 m (26 ft) in diameter was cut down near Eureka in 1914, and the Lindsey Creek tree was documented to have a height of 120 m (390 ft) when it was uprooted and felled by a storm in 1905. A tree reportedly 129.2 m (424 ft) tall was felled in November 1886 by the Elk River Mill and Lumber Company in Humboldt County, yielding 79,736 marketable board feet from 21 cuts. In 1893, a Redwood cut at the Eel River, near Scotia, reportedly measured 130.1 m (427 ft) in length, and 23.5 m (77 ft) in girth. However, limited evidence corroborates these historical measurements.

Today, trees over 60 m (200 ft) are common, and many are over 90 m (300 ft). The current tallest tree is the Hyperion tree, measuring 115.61 m (379.3 ft). The tree was discovered in Redwood National Park during mid-2006 by Chris Atkins and Michael Taylor, and is thought to be the world's tallest living organism. The previous record holder was the Stratosphere Giant in Humboldt Redwoods State Park at 112.84 m (370.2 ft) (as measured in 2004). Until it fell in March 1991, the "Dyerville Giant" was the record holder. It, too, stood in Humboldt Redwoods State Park and was 113.4 m (372 ft) high and estimated to be 1,600 years old. This fallen giant has been preserved in the park.

The largest known living coast redwood is Grogan's Fault, discovered in 2014 by Chris Atkins and Mario Vaden in Redwood National Park, with a main trunk volume of at least 1,084.5 cubic meters (38,299 cu ft) Other high-volume coast redwoods include Iluvatar, with a main trunk volume of 1,033 m3 (36,470 cu ft),[71]: 160  and the Lost Monarch, with a main trunk volume of 988.7 m3 (34,914 cu ft).

Albino redwoods are mutants that cannot manufacture chlorophyll. About 230 examples (including growths and sprouts) are known to exist, reaching heights of up to 20 m (66 ft). These trees survive like parasites, obtaining food from green parent trees. While similar mutations occur sporadically in other conifers, no cases are known of such individuals surviving to maturity in any other conifer species. Recent research news reports that albino redwoods can store higher concentrations of toxic metals, going so far as comparing them to organs or "waste dumps".

List of tallest trees

Heights of the tallest coast redwoods are measured yearly by experts. Even with recent discoveries of tall coast redwoods above 100 m (330 ft), it is likely that no taller trees will be discovered.

Ten tallest Sequoia sempervirens
Rank Name Height Diameter Location
Meters Feet Meters Feet
1 Hyperion 115.85 380.1 4.84 15.9 Redwood National Park
2 Helios 114.58 375.9 4.96 16.3 Redwood National Park
3 Icarus 113.14 371.2 3.78 12.4 Redwood National Park
4 Stratosphere Giant 113.05 370.9 5.18 17.0 Humboldt Redwoods State Park
5 National Geographic 112.71 369.8 4.39 14.4 Redwood National Park
6 Orion 112.63 369.5 4.33 14.2 Redwood National Park
7 Federation Giant 112.62 369.5 4.54 14.9 Humboldt Redwoods State Park
8 Paradox 112.51 369.1 3.90 12.8 Humboldt Redwoods State Park
9 Mendocino 112.32 368.5 4.19 13.7 Montgomery Woods State Natural Reserve
10 Millennium 111.92 367.2 2.71 8.9 Humboldt Redwoods State Park
The Del Norte Titan

Diameter is measured at 1.4 m (4 ft 7 in) above average ground level (at breast height). Details of the precise locations for most of the tallest trees were not announced to the general public for fear of causing damage to the trees and the surrounding habitat. The tallest coast redwood easily accessible to the public is the National Geographic Tree, immediately trailside in the Tall Trees Grove of Redwood National Park.

List of largest trees

The following list shows the largest S. sempervirens by volume known as of 2001.

Five largest Sequoia sempervirens Rank Name Height Diameter Trunk volume Location Meters Feet Meters Feet Cubic meters Cubic feet 1 Del Norte Titan 93.6 307 7.23 23.7 1,045 36,900 Jedediah Smith Redwoods State Park 2 Iluvatar 91.4 300 6.14 20.1 1,033 36,500 Prairie Creek Redwoods State Park 3 Lost Monarch 97.8 321 7.68 25.2 989 34,900 Jedediah Smith Redwoods State Park 4 Howland Hill Giant 100.3 329 6.02 19.8 951 33,600 Jedediah Smith Redwoods State Park 5 Sir Isaac Newton 94.8 311 7.01 23.0 940 33,000 Prairie Creek Redwoods State Park

Calculating the volume of a standing tree is the practical equivalent of calculating the volume of an irregular cone, and is subject to error for various reasons. This is partly due to technical difficulties in measurement, and variations in the shape of trees and their trunks. Measurements of trunk circumference are taken at only a few predetermined heights up the trunk, and assume that the trunk is circular in cross-section, and that taper between measurement points is even. Also, only the volume of the trunk (including the restored volume of basal fire scars) is taken into account, and not the volume of wood in the branches or roots. The volume measurements also do not take cavities into account. Most coast redwoods with volumes greater than 850 m3 (30,000 cu ft) represent ancient fusions of two or more separate trees, which makes determining whether a coast redwood has a single stem or multiple stems difficult. Starting in 2014, more record-breaking coast redwood trees were discovered. The largest disclosed was a massive redwood called Grogan's Fault/Spartan, which has been measured to have a volume of 38,300 cubic feet. In 2021 during a meeting presentation titled Redwoods 101 run by Henry Cowell Redwoods State Park, an even larger redwood was revealed, allegedly surpassed only by 3 giant sequoias in size. This tree is popularly known as 'Hail Storm', and has a volume of 44,750 cubic feet.

Details of the precise locations for most of the tallest trees were not announced to the general public for fear of causing damage to the trees and the surrounding habitat. The largest coast redwood easily accessible to the public is Iluvatar, which stands prominently about 5 meters (16 ft) to the southeast of the Foothill Trail of Prairie Creek Redwoods State Park.

Canopy Layers

Clouded Salamander, Aneides ferreus

Redwood canopy soil forms from leaf and organic material litter shedding from upper portions of the tree, accumulating and decomposing on larger branches. These clusters of soil require a lot of hydration, but they have an incredible amount of retention once saturated. Redwoods can send roots into these wet soils, providing a water source removed from the forest floor. This creates a unique ecosystem within old growth trees full of fungi, vascular plants, and small creatures. An example of a creature that lives there are the Clouded Salamanders that has been discovered up to 40 meters high. Evidence shows they breed and are born in the canopy soil of Redwood trees. Due to the sheer mass height of these trees and the canopy layer, it was almost never explored for the last century. Due to the mass of these trees and the amount of trees in the surrounding area different molds of moss form on these canopies that are called epiphytes. These epiphytes have different characteristics but all of said species are very adaptable to the tough treetop weather and characteristics. After hundreds of years these trees have been shaped into making it possible for these epiphytes to survive through the winter rain and the fall fog.

Other notable examples

  • The Blossom Rock Navigation Trees were two especially tall sequoias located in the Berkeley Hills used as a navigational aid by sailors to avoid the treacherous Blossom Rock near Yerba Buena Island.
  • The Crannell Creek Giant was documented to have a trunk volume of at least 1,744 m3 (61,573 cu ft) – about 32% larger than Grogan's Fault and 17% larger than General Sherman, the current largest tree. It was felled around 1945.
  • The Lindsey Creek tree was documented to have a height of 120 m (390 ft) and a trunk volume of at least 2,500 cubic meters (90,000 cu ft) when it was uprooted and felled by a storm in 1905. If these measurements are to be believed, the Lindsey Creek tree was about 3 m (10 ft) taller than Hyperion, the current tallest tree, 213% larger than Grogan's Fault, and 171% larger than General Sherman.
  • Old Survivor, also known as the Grandfather, is the last remaining old-growth coastal redwood of the redwood forest that populated the Oakland Hills. The tree was seeded sometime between 1549 and 1554.
  • One of the largest redwood stumps ever found, measuring 9.4 m (31 ft) in diameter, is in Oakland, California, the Berkeley Hills, in the Roberts Regional Recreation Area section of Redwood Regional Park.
  • Ansel Adams

    From Wikipedia, the free encyclopedia
      
    Ansel Adams
    A photo of a bearded Ansel Adams with a camera on a tripod and a light meter in his hand. Adams is wearing a dark jacket and a white shirt, and the open shirt collar is spread over the lapel of his jacket. He is holding a cable release for the camera, and there is a rocky hillside behind him. The photo was taken by J. Malcolm Greany and first appeared in the 1950 Yosemite Field School Yearbook.
    Adams c. 1950
    Born
    Ansel Easton Adams

    February 20, 1902
    DiedApril 22, 1984 (aged 82)
    Resting placeAshes placed on the summit of Mount Ansel Adams in California's Ansel Adams Wilderness area
    Known forPhotography and conservationism
    MovementGroup f/64
    Spouse
    Virginia Rose Best
    (m. 1928)
    AwardsPresidential Medal of Freedom
    1980

    ElectedBoard of Directors, Sierra Club
    Patron(s)Albert M. Bender
    Memorial(s)
    Website

    Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.

    Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 14, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.

    Adams was a key advisor in the founding and establishment of the photography department at the Museum of Modern Art in New York, an important landmark in securing photography's institutional legitimacy. He helped to stage that department's first photography exhibition, helped found the photography magazine Aperture, and co-founded the Center for Creative Photography at the University of Arizona.

    Early life

    Birth

    Adams was born in the Fillmore District of San Francisco, the only child of Charles Hitchcock Adams and Olive Bray. He was named after his uncle, Ansel Easton. His mother's family came from Baltimore, where his maternal grandfather had a successful freight-hauling business but lost his wealth investing in failed mining and real estate ventures in Nevada. The Adams family came from New England, having migrated from the north of Ireland during the early 19th century. His paternal grandfather founded a very prosperous lumber business that his father later managed. Later in life, Adams condemned the industry his grandfather worked in for cutting down many of the redwood forests.

    Early childhood

    One of Adams's earliest memories was watching the smoke from the fires caused by the 1906 San Francisco earthquake. Then four years old, Adams was uninjured in the initial shaking but was tossed face-first into a garden wall during an aftershock three hours later, breaking and scarring his nose. A doctor recommended that his nose be reset once he reached maturity, but it remained crooked and necessitated mouth breathing for the rest of his life.

    In 1907, his family moved 2 miles (3 km) west to a new home near the Seacliff neighborhood of San Francisco, just south of the Presidio Army Base. The home had a "splendid view" of the Golden Gate and the Marin Headlands.

    Adams was a hyperactive child and prone to frequent sickness and hypochondria. He had few friends, but his family home and surroundings on the heights facing the Golden Gate provided ample childhood activities. He had little patience for games or sports; but he enjoyed the beauty of nature from an early age, collecting bugs and exploring Lobos Creek all the way to Baker Beach and the sea cliffs leading to Lands End, "San Francisco's wildest and rockiest coast, a place strewn with shipwrecks and rife with landslides."

    Early education

    Adams's father had a three-inch telescope, and they enthusiastically shared the hobby of astronomy, visiting the Lick Observatory on Mount Hamilton together. His father later served as the paid secretary-treasurer of the Astronomical Society of the Pacific, from 1925 to 1950.

    Charles Adams's business suffered large financial losses after the death of his father in the aftermath of the Panic of 1907. Some of the loss was due to his uncle Ansel Easton and Cedric Wright's father George secretly having sold their shares of the company, "knowingly providing the controlling interest" to the Hawaiian Sugar Trust for a large amount of money. By 1912, the family's standard of living had dropped sharply.

    Adams was dismissed from several private schools for being restless and inattentive, so when he was 12, his father decided to remove him from school. For the next two years he was educated by private tutors, his aunt Mary, and his father. Mary was a devotee of Robert G. Ingersoll, a 19th-century agnostic and women's suffrage advocate, so Ingersoll's teachings were important to his upbringing. During the Panama–Pacific International Exposition in 1915, his father insisted that he spend part of each day studying the exhibits as part of his education. He eventually resumed, and completed, his formal education by attending the Mrs. Kate M. Wilkins Private School, graduating from the eighth grade on June 8, 1917. During his later years, he displayed his diploma in the guest bathroom of his home.

    His father raised him to follow the ideas of Ralph Waldo Emerson: to live a modest, moral life guided by a social responsibility to man and nature. Adams had a loving relationship with his father, but he had a distant relationship with his mother, who did not approve of his interest in photography. The day after her death in 1950, Ansel had a dispute with the undertaker when choosing the casket in which to bury her. He chose the cheapest in the room, a $260 coffin that seemed the least he could purchase without doing the job himself. The undertaker remarked, "Have you no respect for the dead?" Adams replied, "One more crack like that and I will take Mama elsewhere."

    Youth

    Adams became interested in playing the piano at age 12 after hearing his 16-year-old neighbor Henry Cowell play on the Adams' piano, and he taught himself to play and read music. Cowell, who later became a well-known avant-garde composer, gave Adams some lessons. Over the next decade, three music teachers pushed him to develop technique and discipline, and he became determined to pursue a career as a classical pianist.

    Kodak No 1 Brownie Model B box camera, the first camera that Adams was given at age 14 while on a family trip to Yosemite National Park, California in 1916

    Adams first visited Yosemite National Park in 1916 with his family. He wrote of his first view of the valley: "the splendor of Yosemite burst upon us and it was glorious.... One wonder after another descended upon us.... There was light everywhere.... A new era began for me." His father gave him his first camera during that stay, an Eastman Kodak Brownie box camera, and he took his first photographs with his "usual hyperactive enthusiasm". He returned to Yosemite on his own the next year with better cameras and a tripod. During the winters of 1917 and 1918, he learned basic darkroom technique while working part-time for a San Francisco photograph finisher.

    Adams contracted the Spanish flu during the 1918 flu pandemic, from which he needed several weeks to recuperate. He read a book about lepers and became obsessed with cleanliness; he was afraid to touch anything without immediately washing his hands afterwards. Over the objections of his doctor, he prevailed on his parents to take him back to Yosemite, and the visit cured him of his disease and compulsions.

    Adams avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. He explored the High Sierra during summer and winter with retired geologist and amateur ornithologist Francis Holman, whom he called "Uncle Frank". Holman taught him camping and climbing; however, their shared ignorance of safe climbing techniques such as belaying almost led to disaster on more than one occasion.

    Harry Best standing in front of his studio, c. 1922–1925

    While in Yosemite, Adams had need of a piano to practice on. A ranger introduced him to landscape painter Harry Best, who kept a studio home in Yosemite and lived there during the summers. Best allowed Adams to practice on his old square piano. Adams grew interested in Best's daughter Virginia and later married her. On her father's death in 1936, Virginia inherited the studio and continued to operate it until 1971. The studio is now known as the Ansel Adams Gallery and remains owned by the Adams family.

    Sierra Club and piano work

    At age 17, Adams joined the Sierra Club, a group dedicated to protecting the wild places of the earth, and he was hired as the summer caretaker of the Sierra Club visitor facility in Yosemite Valley, the LeConte Memorial Lodge, from 1920 to 1923. He remained a member throughout his lifetime and served as a director, as did his wife. He was first elected to the Sierra Club's board of directors in 1934 and served on the board for 37 years. Adams participated in the club's annual High Trips, later becoming assistant manager and official photographer for the trips. He is credited with several first ascents in the Sierra Nevada.

    During his twenties, most of his friends had musical associations, particularly violinist and amateur photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy was from Edward Carpenter's Towards Democracy, a literary work which endorsed the pursuit of beauty in life and art. For several years, Adams carried a pocket edition with him while at Yosemite; and it became his personal philosophy as well. He later stated, "I believe in beauty. I believe in stones and water, air and soil, people and their future and their fate."

    During summer, Adams would enjoy a life of hiking, camping, and photographing; and the rest of the year he worked to improve his piano playing, perfecting his piano technique and musical expression. He also gave piano lessons for extra income that allowed him to purchase a grand piano suitable to his musical ambitions. Adams was still planning a career in music. He felt that his small hands limited his repertoire, but qualified judges considered him a gifted pianist. However, when he formed the Milanvi Trio with a violinist and a dancer, he proved a poor accompanist. It took seven more years for him to conclude that, at best, he might become only a concert pianist of limited range, an accompanist, or a piano teacher.

    Photographic career

    1920s

    Pictorialism

    Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park (1921)

    Adams's first photographs were published in 1921, and Best's Studio began selling his Yosemite prints the next year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he wrote of having dared to climb to the best viewpoints and to brave the worst elements.

    During the mid-1920s, the fashion in photography was pictorialism, which strove to imitate paintings with soft focus, diffused light, and other techniques. Adams experimented with such techniques, as well as the bromoil process, which involved brushing an oily ink onto the paper. An example is Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park (originally named Tamarack Pine), taken in 1921. Adams used a soft-focus lens, "capturing a glowing luminosity that captured the mood of a magical summer afternoon".

    For a short time Adams used hand-coloring, but declared in 1923 that he would do this no longer. By 1925 he had rejected pictorialism altogether for a more realistic approach that relied on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.

    Monolith

    Monolith, the Face of Half Dome, Yosemite National Park, California (1927)

    In 1927, Adams began working with Albert M. Bender, a San Francisco insurance magnate and arts patron. Bender helped Adams produce his first portfolio in his new style, Parmelian Prints of the High Sierras, which included his famous image Monolith, the Face of Half Dome, which was taken with his Korona view camera, using glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left, and he "visualized" the effect of the blackened sky before risking the last image. He later said, "I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print." One biographer calls Monolith Adams's most significant photograph because the "extreme manipulation of tonal values" was a departure from all previous photography. Adams's concept of visualization, which he first defined in print in 1934, became a core principle in his photography.

    Adams's first portfolio was a success, earning nearly $3,900 with the sponsorship and promotion of Bender. Soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio.[47] He also began to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender's invitation, he joined the Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout, which he later applied to other projects.

    Adams married Virginia Best in 1928, after a pause from 1925 to 1926 during which he had brief relationships with various women. The newlyweds moved in with his parents to save expenses. The following year, they had a home built next door and connected it to the older house by a hallway.

    1930s

    Pure photography

    An apple orchard at Yosemite's Half Dome (1931)
    A black-and-white close-up photograph of palmate, conifer, and small fern-like leaves overlapping, all visibly damp. One slightly larger and brighter palmate leaf rests in the upper foreground, covering all but one third of the photograph.
    Close-up of leaves In Glacier National Park (1942)

    Between 1929 and 1942, Adams's work matured, and he became more established. The 1930s were a particularly experimental and productive time for him. He expanded the technical range of his works, emphasizing detailed close-ups as well as large forms, from mountains to factories.

    Bender took Adams on visits to Taos, New Mexico, where Adams met and made friends with the poet Robinson Jeffers, artists John Marin and Georgia O'Keeffe, and photographer Paul Strand. His talkative, high-spirited nature combined with his excellent piano playing made him popular among his artist friends. His first book, Taos Pueblo, was published in 1930 with text by writer Mary Hunter Austin.

    Strand proved especially influential. Adams was impressed by the simplicity and detail of Strand's negatives, which showed a style that ran counter to the soft-focus, impressionistic pictorialism still popular at the time. Strand shared secrets of his technique with Adams and convinced him to pursue photography fully. One of Strand's suggestions that Adams adopted was to use glossy paper to intensify tonal values.

    Adams put on his first solo museum exhibition, Pictorial Photographs of the Sierra Nevada Mountains by Ansel Adams, at the Smithsonian Institution in 1931; it featured 60 prints taken in the High Sierra and the Canadian Rockies. He received a favorable review from the Washington Post: "His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods."

    Despite his success, Adams felt that he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos and to achieve higher quality by "visualizing" each image before taking it. He emphasized the use of small apertures and long exposures in natural light, which created sharp details with a wide range of distances in focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs.

    In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston, and they soon formed Group f/64 which espoused "pure or straight photography" over pictorialism (f/64 being a very small aperture setting that gives great depth of field). The group's manifesto stated: "Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form."

    Imitating the example of photographer Alfred Stieglitz, Adams opened his own art and photography gallery in San Francisco in 1933.[61] He also began to publish essays in photography magazines and wrote his first instructional book, Making a Photograph, in 1935.

    Sierra Nevada

    Coloseum Mountain, Kings River Canyon, California (1936)

    During the summers, Adams often participated in Sierra Club High Trips outings, as a paid photographer for the group; and the rest of the year a core group of Club members socialized regularly in San Francisco and Berkeley. In 1933, his first child Michael was born, followed by Anne two years later.

    During the 1930s, Adams began to deploy his photographs in the cause of wilderness preservation. He was inspired partly by the increasing incursion into Yosemite Valley of commercial development, including a pool hall, bowling alley, golf course, shops, and automobile traffic. He created the limited-edition book Sierra Nevada: The John Muir Trail in 1938, as part of the Sierra Club's efforts to secure the designation of Kings Canyon as a national park. This book and his testimony before Congress played a vital role in the success of that effort, and Congress designated Kings Canyon as a national park in 1940.

    In 1935, Adams created many new photographs of the Sierra Nevada; and one of his most famous, Clearing Winter Storm, depicted the entire Yosemite Valley, just as a winter storm abated, leaving a fresh coat of snow. He gathered his recent work and had a solo show at Stieglitz's "An American Place" gallery in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned Adams strong praise from the revered Stieglitz. The following year, the negative for Clearing Winter Storm was almost destroyed when the darkroom in Yosemite caught fire. With the help of Edward Weston and Charis Wilson (Weston's future wife), Adams put out the fire, but thousands of negatives, including hundreds that had never been printed, were lost.

    Desert Southwest

    A black and white photograph shows Georgia O'Keeffe and Orville Cox wearing hats with the sky and clouds behind them.
    Georgia O'Keeffe and Orville Cox, Canyon de Chelly National Monument, Arizona (1937)

    In 1937, Adams, O'Keeffe, and friends organized a month-long camping trip in Arizona, with Orville Cox, the head wrangler at Ghost Ranch, as their guide. Both artists created new work during this trip. Adams made a candid portrait of O'Keeffe with Cox on the rim of Canyon de Chelly. Adams once remarked, "Some of my best photographs have been made in and on the rim of [that] canyon." Their works set in the desert Southwest are often published and exhibited together.

    During the rest of the 1930s, Adams took on many commercial assignments to supplement the income from the struggling Best's Studio. He depended on such assignments financially until the 1970s. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric Company, AT&T, and the American Trust Company. He photographed Timothy L. Pflueger's new Patent Leather Bar for the St. Francis Hotel in 1939. The same year, he was named an editor of U.S. Camera & Travel, the most popular photography magazine at that time.

    1940s

    Adams c. 1941

    In 1940, Adams created A Pageant of Photography, the largest and most important photography show in the West to date, attended by millions of visitors. With his wife, Adams completed a children's book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941. He also taught photography by giving workshops in Detroit. Adams also began his first serious stint of teaching, which included the training of military photographers, in 1941 at the Art Center School of Los Angeles, now known as the Art Center College of Design.

    Mural Project

    In 1941, Adams contracted with the National Park Service to make photographs of National Parks, Indian reservations, and other locations managed by the department, for use as mural-sized prints to decorate the department's new building. The contract was for 180 days. Adams set off on a road trip with his friend Cedric and his son Michael, intending to combine work on the "Mural Project" with commissions for the U.S. Potash Company and Standard Oil, with some days reserved for personal work.

    Moonrise

    Moonrise, Hernandez, New Mexico (1941)

    While in New Mexico for the project, Adams photographed a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named Moonrise, Hernandez, New Mexico. Adams's description in his later books of how it was made probably enhanced the photograph's fame: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon and used it to calculate the proper exposure. Adams's earlier account was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter.

    However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print. The initial publication of Moonrise was in U.S. Camera 1943 annual, after being selected by the "photo judge" for U.S. Camera, Edward Steichen. This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.

    Over nearly 40 years, Adams re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over 1,369 unique prints, mostly in 16" by 20" format. Many of the prints were made during the 1970s, with their sale finally giving Adams financial independence from commercial projects. The total value of these original prints exceeds $25,000,000; the highest price paid for a single print of Moonrise reached $609,600 at a 2006 Sotheby's auction in New York.

    The Mural Project ended on June 30, 1942; and because of the World War, the murals were never created. Adams sent a total of 225 small prints to the DOI, but held on to the 229 negatives. These include many famous images such as The Tetons and the Snake River. Although they were legally the property of the U.S. Government, he knew that the National Archives did not take proper care of photographic material, and used various subterfuges to evade queries.

    The ownership of one image in particular has attracted interest: Moonrise. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and he neglected to note the date of Moonrise. But the position of the Moon allowed the image to be eventually dated from astronomical calculations, and in 1991 Dennis di Cicco of Sky & Telescope determined that Moonrise was made on November 1, 1941. Since this was a day for which he had not billed the department, the image belonged to Adams.

    World War II

    A black-and-white photograph shows farm workers with Mt. Williamson in background.
    Farm, farm workers, Mt. Williamson in background, Manzanar Relocation Center, California (1943)
    A black-and-white photography shows a smiling woman from below twirling batons with the sun behind her.
    Baton practice, Florence Kuwata, Manzanar Relocation Center (1943)

    When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted Adams to be a member, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C. Around February 1942, Steichen asked Adams to join him in the navy. Adams agreed, but with two conditions: He wanted to be commissioned as an officer, and he would not be available until July 1. Steichen, who wanted the team assembled as quickly as possible, passed on Adams and had his other photographers ready by early April.

    Adams was distressed by the Japanese American internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the base of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. Upon its release, "[the book] was met with some distressing resistance and was rejected by many as disloyal." This work was a significant departure, stylistically and philosophically, from the work for which Adams is generally known. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians.

    In 1943, Adams had a camera platform mounted on his station wagon, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds. Most of his landscapes from that time forward were made from the roof of his car rather than from summits reached by rugged hiking, as in his earlier days.

    Adams was the recipient of three Guggenheim Fellowships during his career, the first being awarded in 1946 to photograph every national park. At that time, there were 28 national parks, and Adams photographed 27 of them, missing only Everglades National Park in Florida. This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton, and Mount McKinley.

    In 1945, Adams was asked to form the first fine art photography department at the California School of Fine Arts. Adams invited Dorothea Lange, Imogen Cunningham, and Edward Weston to be guest lecturers, and Minor White to be the principal instructor. The photography department produced numerous notable photographers, including Philip Hyde, Benjamen Chinn, and Bill Heick.

    1950s

    In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal of photography, displaying its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine. His article on Mission San Xavier del Bac, with text by longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many collaborations with her.

    In June 1955, Adams began his annual workshops at Yosemite. They continued to 1981, attracting thousands of students. He continued with commercial assignments for another twenty years, and became a consultant, with a monthly retainer, for Polaroid Corporation, which was founded by good friend Edwin Land. He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered most memorable. During the final twenty years of his life, the 6x6 cm medium format Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photograph made with that brand of camera.

    From 1957 until 1962, Geraldine "Gerry" Sharpe served as his photography assistant, and they often took photos of the same locations.

    Adams published his fourth portfolio, What Majestic Word, in 1963, and dedicated it to the memory of his Sierra Club friend Russell Varian, who was a co-inventor of the klystron and who had died in 1959. The title was taken from the poem "Sand Dunes", by John Varian, Russell's father, and the fifteen photographs were accompanied by the writings of both John and Russell Varian. Russell's widow, Dorothy, wrote the preface, and explained that the photographs were selected to serve as interpretations of the character of Russell Varian.

    Later career

    President Gerald Ford and First Lady Betty Ford viewing photographs with Adams, 1975
     
    Jimmy Carter's photographic portrait by Adams.

    By the 1960s, Adams had developed gout and arthritis and hoped that moving to a new home would make him feel better. He and his wife considered Santa Fe, but they both had commitments in California (Virginia was managing the Yosemite studio of her father). A friend offered to sell them property in Carmel Highlands, overlooking the Big Sur coastline. With architect Eldridge Spencer, they began planning the new home in 1961 and moved there in 1965. Adams began to devote much of his time to printing the backlog of negatives that had accumulated over forty years.

    In the 1960s, a few mainstream art galleries that had considered photography unworthy of exhibit alongside fine paintings decided to show Adams's images, particularly the former Kenmore Gallery in Philadelphia. In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark Kerr, the president of the University of California, to produce a series of photographs of the university's campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the university's motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside.

    During the 1970s, Adams reprinted negatives from his vault, in part to satisfy the demand of art museums that had recently established departments of photography.

    In 1972, Adams contributed images to help publicize Proposition 20, which authorized the state to regulate development along portions of the California coast.

    In 1974, he exhibited at the Rencontres d'Arles (formerly known as the Rencontres Internationales de la Photographie d'Arles), an annual summer photography festival in France. He also had a major retrospective exhibition at the Metropolitan Museum of Art.

    In 1975, he cofounded the Center for Creative Photography at the University of Arizona, which handles some of his estate matters.

    In 1979, President Jimmy Carter commissioned Adams to make the first official photographic portrait of a U.S. president.

    Death and legacy

    Adams died from cardiovascular disease on April 22, 1984, in the intensive-care unit at the Community Hospital of the Monterey Peninsula in Monterey, California, at age 82. He was surrounded by his wife, two children and five grandchildren. His body was cremated and his ashes were scattered on Half Dome at Yosemite National Park.

    Publishing rights for most of Adams's photographs are handled by the trustees of The Ansel Adams Publishing Rights Trust. An archive of Adams's work is located at the Center for Creative Photography at the University of Arizona in Tucson. Numerous works by the artist have been sold at auction, including a mural-sized print of Clearing Winter Storm, Yosemite National Park, which sold at Sotheby's New York in June 2010 for $722,500, then the highest price ever paid for an original Ansel Adams photograph. This price was surpassed by another mural-sized print of one of his photographs, The Tetons and the Snake River, sold for $988,000 at Sotheby's New York, on December 14, 2020.

    John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p. 5), "The love that Americans poured out for the work and person of Ansel Adams during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country's response to a visual artist."

    Adams' wife, Virginia Rose Best, died on 29 January 2000, aged 96.

    Contributions and influence

    Landscapes of the American West

    A dramatically lit black-and-white photograph depicts a large river, which snakes from the bottom right to the center left of the picture. Dark evergreen trees cover the steep left bank of the river, and lighter deciduous trees cover the right. In the top half of the frame, there is a tall mountain range, dark but clearly covered in snow. The sky is overcast in parts, but only partly cloudy in others, and the sun shines through to illuminate the scene and reflect off the river in these places.
    The Tetons and the Snake River (1942)

    Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite during the 19th century, followed by photographers Carleton Watkins, Eadweard Muybridge, and George Fiske. Adams's work is distinguished from theirs by his interest in the transient and ephemeral. He photographed at varying times of the day and of the year, capturing the landscape's changing light and atmosphere.

    Art critic John Szarkowski wrote, "Ansel Adams attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique."

    The creation of Adams's grand, highly detailed images was driven by his interest in the natural environment. With increasing environmental degradation in the West during the 20th century, his photos show a commitment to conservation. His black-and-white photographs were not just documentation, but reflected a sublime experience of nature as a spiritual place.

    In 1955, Edward Steichen selected Adams's Mount Williamson for the world-touring Museum of Modern Art exhibition The Family of Man, which was seen by nine million visitors. At 10 by 12 feet (3.0 by 3.7 m), his was the largest print in the exhibition, presented floor-to-ceiling in a prominent position as the backdrop to the section "Relationships", as a reminder of the essential reliance of humanity on the soil. However, despite its striking and prominent display, Adams expressed displeasure at the "gross" enlargement and "poor" quality of the print.

    Group f/64

    In 1932, Adams helped form the anti‐pictorialist Group f/64, a loose and relatively short-lived association of like-minded "straight" or "pure" photographers on the West Coast whose members included Edward Weston and Imogen Cunningham. The modernist group favored sharp focus—f/64 being a very small aperture setting that gives great depth of field on large-format view cameras—contact printing, precisely exposed images of natural forms and found objects, and the use of the entire tonal range of a photograph.

    Adams wrote the group's manifesto for their exhibition at the De Young Museum:

    Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art-form by a simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of [technique], composition or ideas, derivative of any other art-form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art, which are directly related to painting and the graphic arts. The members of Group f/64 believe that Photography, as an art-form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period of culture antedating the growth of the medium itself.

    The f/64 school met with opposition from the pictorialists, particularly William Mortensen, who called their work "hard and brittle". Adams disliked the work of Mortensen and disliked him personally, referring to him as the "Anti-Christ". The purists were friends with prominent historians, and their influence led to the exclusion of Mortensen from histories of photography.

    Adams later developed this purist approach into the Zone System.

    The Zone System

    A black-and-white photograph shows a large, still lake extending horizontally off the frame and halfway up vertically, reflecting the rest of the scene. In the distance, a mountain range can be seen, with a gap in the center and one faint smaller mountain in between. The sky is cloudy and large dark clouds rest at the very top of the frame.
    Evening, McDonald Lake, Glacier National Park (1942)

    While Adams and portrait photographer Fred Archer were teaching at the Art Center School in Los Angeles, around 1939–1940, they developed the Zone System for managing the photographic process, which was based on sensitometry, the study of the light-sensitivity of photographic materials and the relationship between exposure time and the resulting density on a negative. The Zone System provides a calibrated scale of brightness, from Zone 0 (black) through shades of gray to Zone X (white). The photographer can take light readings of key elements in a scene and use the Zone System to determine how the film must be exposed, developed, and printed to achieve the desired brightness or darkness in the final image. Although it originated for black-and-white sheet film, the Zone System can be applied to images captured on roll film, both black-and-white and color, negative and reversal, and to digital photography.

    Photography department at MoMA

    In 1940, with trustee David H. McAlpin and curator Beaumont Newhall, Adams helped establish the photography department at the Museum of Modern Art (MoMA) in New York. MoMA was the first major American art museum to establish a photography department. Adams acted as McAlpin and Newhall's primary advisor; Peter Galassi, the chief curator of the department in later years, said "Adams's dedication and boundless energy were vital to the creation of the department and to its programs in its early years." For those who had sought institutional recognition for photography as art, the founding of the department was an important moment, marking the medium's recognition as a subject equal to painting and sculpture.

    On December 31, 1940, the department opened its first exhibition, Sixty Photographs: A Survey of Camera Esthetics, which resembled large survey exhibitions that Adams and Newhall had previously mounted independently. The exhibition took aesthetic quality as a guiding principle, a philosophy that ran counter to that of many writers and critics, who argued that the medium's more vernacular use as a means of communication should be more fully represented. Photographer Ralph Steiner, writing for PM, remarked "on the whole it [MoMA] seems to regard photography as soft music at high tea rather than as a jazz at a beefsteak supper." Tom Maloney, publisher of U.S. Camera, wrote that the exhibition was "very choice, very pristine, very small, very ultra." According to Newhall, the exhibition was meant to showcase artistic excellence and "not to define but to suggest the possibilities of photographic vision."

    Environmental protection

    In his autobiography, Adams expressed his concern about Americans' loss of connection to nature in the course of industrialization and the exploitation of the land's natural resources. He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere."

    Awards and honors

    File:Ansel Adams Wilderness sign
    Ansel Adams Wilderness designated area

    Adams received a number of awards during his lifetime and posthumously, and several awards and places have been named in his honor.

    For his photography, Adams received an Honorary Fellowship of the Royal Photographic Society in 1976 and the Hasselblad Award in 1981. Two of his photographs, The Tetons and the Snake River and a view of the Golden Gate Bridge from Baker Beach, were among the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possibly alien civilization.

    For his conservation efforts, Adams received the Sierra Club John Muir Award in 1963. In 1968, he was awarded the Conservation Service Award, the highest award of the Department of the Interior. In 1980, President Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor, for "his efforts to preserve this country's wild and scenic areas, both on film and on earth. Drawn to the beauty of nature's monuments, he is regarded by environmentalists as a national institution."

    Adams received an honorary artium doctor degree from Harvard University and an honorary Doctor of Fine Arts degree from Yale University. He was elected a Fellow of the American Academy of Arts and Sciences in 1966. In 2007, he was inducted into the California Hall of Fame by California Governor Arnold Schwarzenegger and First Lady Maria Shriver.

    The Sierra Club's Ansel Adams Award for Conservation Photography was established in 1971, and the Ansel Adams Award for Conservation was established in 1980 by The Wilderness Society, which also has a large permanent gallery of his work on display at its Washington, D.C. headquarters. The Minarets Wilderness in the Inyo National Forest and a 11,760-foot (3,580 m) peak therein were renamed the Ansel Adams Wilderness and Mount Ansel Adams, respectively, in 1985.

    In 1984 Adams was inducted into the International Photography Hall of Fame.

    Photographs

    Color images

    Adams was known mostly for his boldly printed, large-format black-and-white images, but he also worked extensively with color. However, he preferred black-and-white photography, which he believed could be manipulated to produce a wide range of bold, expressive tones, and he felt constricted by the rigidity of the color process. Most of his color work was done on assignments, and he did not consider his color work to be important or expressive, even explicitly forbidding any posthumous exploitation of his color work.

    Representation of a Lie group

    From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Representation_of_a_Lie_group...