Artist Edition Prints
Specially priced limited-edition gelatin-silver prints
In the 1950’s, Ansel Adams began offering a select set of his photographs of Yosemite – his Special Edition Photographs. Ansel’s thinking in creating the Edition was to make “fine art” quality photographs available at a price well below typical market value, so that those who wanted to have an original print could do so more affordably. These prints are still offered through The Ansel Adams Gallery and are considered one of the best values available to collectors of fine photography.
I have had the honor and pleasure of printing the Special Edition prints for over thirty-five years, and in the spirit of Ansel’s offering, I have decided to occasionally make a few of my own images available as limited edition, specially sized gelatin-silver prints at half of base market value. The Alan Ross Artist Edition prints will be limited to 100 signed and numbered prints, generally on 11×14 paper, overmatted to 16×20. The prints will be available directly from me and will not be available in Artist Edition size in galleries. The images are available in larger and smaller sizes, either directly or through representing galleries, but at full market value.
The price for the Artist Edition prints is based on one-half of the market price at the time of first offering, and this price will not increase as the edition is sold out. A packing and FedEx 2-day shipping charge of $25 will apply to addresses in the “lower 48″.
Monument Valley, Evening Clouds, 2005
One of the most magical places on the face of the earth: it feels like being a bird overlooking the Goosenecks of the San Juan River gorge in Utah, with Monument Valley to the south in Arizona. I responded to the scene quickly, but as I often do while camping, I left the 8×10 set up and within 40 minutes made three negatives which almost look as if they were made on different days! This is my favorite.
8×10 negative, T-max 400, Print 8.3 x 10.5″, matted to 16×20: $300
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Moon and Clouds, Banff 1975
I like to use this image as an example of why you should always take a moment to stop and look behind you when out photographing. I had been struggling for about 45 minutes trying to make some sort of satisfactory image of a reservoir just outside Banff National Park in Canada. Without having exposed any film, I finally gave up, turned around to head back to the car and saw this wonderful event going on in the sky! I have to print it on a fairly high contrast paper–it was done with an uncoated 14 inch Dagor lens, there was a lot of atmospheric haze, and I didn’t give as much development to the film as I should have.
4×5 Tri-X Film Pack, #25 red filter, probably developed in Kodak HC110B, negative toned in selenium.
Print 8.5 x 10.5″, matted to 16×20: $225
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Double Tree, Yosemite 1975
The scene is of Yosemite’s Upper Cascade Creek in early June, just below the bridge where highway 120 crosses it on its way down to the Valley. The tree still survives, but one of the trunks is now nearly worn through from the nearly thirty years of spring run-off erosion. I think the exposure was about 1/2 second.
4×5 Ilford FP4 film, probably developed in Kodak HC110B.
Print 10.5 x 8.5, matted to 16×20: $225
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Sandstorm, Blowing Sand, Great Sand Dunes, Colorado 1997
One fall, I got a call from an Art Director at a major advertising agency in New York, asking if I had any stock photographs of sandstorms. I commented that my cameras usually remained in their cases under such conditions, but was ultimately convinced that making the effort could indeed be worthwhile. I wound up putting nearly 4000 miles on my new truck in 4 weeks, going from dunes in western Utah, to New Mexico’s White Sands, and made three trips to the Great Sand Dunes. Since it would have been sheer folly to attempt using a view camera in the terrific winds I was finally “blessed” with, the photograph was made with a 6×7 Mamiya RZ camera with a 250mm lens and #25 red filter.
Kodak T-Max 100 developed plus-3 in Ilford Ilfotech HC.
Print 8.5 x 10.5 matted to 16×20: $225