I think that was wishful thinking on Ansel's part, Jim. Certain very expensive press techniques today can come close to fascimile, but that
certainly was not the case with even the best halftone printing back in his day. I think I can safely say that because I've been nose to nose with more of Ansel's prints than most folks, though I was actually selling prints through a venue almost in his backyard before I had ever even seen anything of his. And actually, there are quite a few of us who can make better prints than he ever did - we've got better cameras, lenses, films, and papers, and know far more tricks (and we can thank him for teaching us a few of em). His own darkroom was relatively primitively equipped even for the era. But of course, none of us will have his historical impact as a pioneer, teacher, or environmentalist. Since I grew up in the Sierra Nevada, I happen to be very acquainted with its quality of light, and recognize just how sensitive Ansel was to
it, within the parameters of high chosen medium. But he's relatively down the list in what I'd consider a great printmaker. Ironcially, the only
major show I ever split was him involved just my color prints from the Sierra. I didn't even shoot black and white yet. It was that encounter
that got me into black and white work myself, even though I have a different style, and frankly, wanted a financial break from the expense
of printing color. But artistically, I was a lot more influenced by the Westons than AA.