Just saw the "Ansel Adams, A Legacy" show in Cleveland, OH (USA). I have been more interested in Adams lately, as I have been re-reading his books to see if I can pick up additional info, now that I am using a veiw camera after 30 years of roll-film photography. Just some random comments about the technical presentation: All prints were dry mounted with no white printing paper border. After seeing this, his chapers on 'mounting and presentation' make more sense. He talks about 'trimming' prints and he doesn't dwell on framing the prints on the enlarger easel with a 4-blade easel for 'cropping.' The overlay mat on all prints was 8 ply cut to a bevel, and showing about one-quarter of an inch of mat board around the print. The mat and border were what I would call 'cream' color. The prints were non-ferrotyped glossy paper, thought, it looked less glossy than current Ilford FB Glossy. All frames were natural light finish wood (looked unfinished). Some prints were darker than expected. For shure, lighting plays a big role in how light, or dark a print looks. Adams even discusses critique of prints with students using a light source on a Variac. So some of the prints may have been printed for display under more light. Also, these prints were not hand selected by Adams, they are from a collection. So an individual or institution has acquired them and they may not have the 'best' example of a particular print. I was also able to get up close and see grain and loss of defintion in areas which made me realize he was only human and that his techncal expertise is 'within grasp' with the equipment I have available to use. Having read "Making of 20 Photographs" I knew that one of his dune photographs was done on 6x6 medium format and cropped. On close scrutiny, the 16x20 enlargement had grain and definition simiar to a medium format enlargement that I (or anyone on this board) could produce. (of course his image content was extrordinary!) Funny that when I see his photographs I tend to think of his comments in "The Making of 20 Photographs." For example, when I was looking at "Moonrise" I was thinking of how many foot-candle the moon would read. And when looking at the portrait of Weston under the big tree, I thougth of the zone of his bald forehead.