The waterfalls and weather are streaming through the Sierra in 2017 and to celebrate, we are thrilled to offer collectors, friends and fellow art lovers, a chance to purchase two never-before-printed images by one of our distinguished Gallery artists at a discounted price, prior to its availability within the general market place.
Over many years, Keith S. Walklet has photographed most every conceivable corner of Yosemite while crisscrossing valleys, traversing ridges, backpacking, day hiking, getting dirty and finding the summit. His catalog is perhaps the richest and most comprehensive of any photographer to have set foot in the National Park. This week, we are offering two images from this accomplished artist at a special price: "El Capitan, Half Dome, Clearing Storm," and "Sidelit Cottonwoods, Yosemite Fall." While Keith's original prints normally sell in these sizes up to $550, you can now add one to your private collection for 25% off the initial retail price. Each photograph is made by Mr. Walklet in his studio, printed to current archival standards, signed and numbered, as well as mounted, matted and ready for framing. The time to purchase will begin at 9:00 AM Pacific Time on Monday, May 8th and will expire upon the close of business, Sunday, May 14th at 6:00 PM. Once the offer has expired, we anticipate an order fulfillment time of approximately four to five weeks to ensure the quality of each individual order. This inaugural printing offer is available for a very limited time, after which, the print will return to full price.
Email our curator, Evan Russel, at email@example.com if you have any additional questions about the prints or shipping.
The Story of These Images
For this Unique Print Offer, I am pleased to offer a pair of images. One older, the other, more recent. They are both Yosemite, but differ greatly in mood. The older image, Sidelit Cottonwoods, Upper Yosemite Fall was captured in 2005 with my Pentax 67 on Fujichrome Velvia and has until recently remained in my plethora of previously un-scanned transparencies. It celebrates the quiet kind of beauty that the park offers and of which I am particularly fond. I often have described the park as being beautiful every day, but that each year, there are about ten days that are so spectacular, that they sustain one’s spirit for the remainder of the year. The second image made in 2015, El Capitan, Half Dome, Clearing Storm was just such a day, and is both iconic and dramatic.
Something new. . . .
El Capitan, Half Dome, Clearing Storm, March 2016
I’ve seen some spectacular dawns in my thirty years of photographing Yosemite, but this morning eclipsed them all. And I would have missed it if not for a special trip to the park.
The seeds for this image were sown more than six months earlier in August of 2015 when I travelled to Mongolia with two other photographers and representatives of the Ansel Adams Gallery. Our mission was to photograph the Mongolian national parks and explore the potential to host workshops and help raise awareness and appreciation for that country’s unique and endangered resources.
One of our guides in Mongolia was Jal Tumursukh, who oversees some of his country’s most spectacular natural areas and is himself a photographic enthusiast. We spent a lot of time photographing some of his favorite locations in Mongolia that August. Upon learning he would be visiting Yosemite for the first time in late March of 2016, I made a special trip from my home in Idaho to the park to spend time with him.
The night that he arrived, rain soaked the valley and the following morning broke misty and moody. It was precisely the kind of day I hoped for Tumursukh to experience, but he was committed to a series of conferences with park officials, so I headed out on my own. Instead of working within the fog-filled valley, I headed for a higher vantage point where I could face the dawn light rippling off-axis across the clouds.
I chose this position to place El Capitan and Half Dome face-to-face in my composition, with receding ridges in the foreground both echoing and framing the scene. I found a quiet spot to work as this cloud symphony played and curling mist wrapped itself around the icons. The performance began slowly with a few floating rafts of cloud catching the morning light. Then, like music building to a crescendo, collections of clouds, boiling up from below were isolated, light against shadow, as the rising sun accented veils and trailing curls of mist, creating separation and depth. It seemed much longer at the time, but the metadata from the images revealed that fifteen brief minutes had passed before the curtain of light quieted and the valley completely filled with fog and the icons dissolved into a featureless grey.
This row of cottonwoods lining the banks of the Merced across from the Chapel in Yosemite Valley has been a source of endless fascination for me. I have photographed them in every season, morning and evening, in subdued light and spot-lit, as the primary subject and as an accent to the scene, as trees and as a screen of color and tone. I’ve treated them as a literal subject and abstracted them to the edge of recognition. And yet, I still find reasons to stop and consider what they have to offer each and every time I pass.
Something old. . . .
Sidelit Cottonwoods, Yosemite Fall, February, 2005
There are particularly intriguing to me in Winter and early Spring when their leaves are gone and the web of pale branches stand out in contrast against the dark pines across the river. They are beautiful in the simplest of situations, and extraordinary when the light is special. I marvel at how on a sunny morning, the trees start out as silhouettes against the sunlit cliffs, and when the sunlight finally illuminates their skeletal trunks, the effect is akin to a negative being transformed to a positive print.
There is also a wonderful relationship between the trees and Yosemite Fall. This is especially true when the water is flowing at lower levels, fanning out in rivulets across the cliff to create a subtle mirror image to the trees.
This was just such a day. Soft, slightly warm afternoon sidelight ducked below a layer of clouds to illuminate the trees. The falls, which move into shadow beginning around 3 pmthis time of year, would have been in open shade on a normal day, but are even more fully immersed in the cool light. Clouds are skimming the rim of the valley and there is perhaps twenty minutes left before the day begins to give way to evening. The resulting warm vs. cool color contrast and light vs. dark tonal contrast brings the trees forward to the viewer and is especially effective at creating the illusion of three dimensions in this two-dimensional print.