Editing Ansel Adams (section)

====World War II====
[[File:Ansel Adams - Farm workers and Mt. Williamson.jpg|thumb|''Farm, farm workers, [[Mount Williamson|Mt. Williamson]] in background, Manzanar Relocation Center, California'' (1943)<ref>{{cite web | last = Adams | first = Ansel | title = Farm, farm workers, Mt. Williamson in background, Manzanar Relocation Center, California | url = http://www.loc.gov/pictures/collection/manz/item/2002695990/ | website = Ansel Adams's Photographs of Japanese-American Internment at Manzanar | publisher = Library of Congress | access-date = February 28, 2019 | year = 1943 | archive-date = September 11, 2018 | archive-url = https://web.archive.org/web/20180911192333/http://www.loc.gov/pictures/collection/manz/item/2002695990/ | url-status = live }}</ref>|alt=A black-and-white photograph shows farm workers with Mt. Williamson in background.]]
[[File:Baton-practice-Manzanar-Adams.jpeg|thumb|''Baton practice, Florence Kuwata, [[Manzanar War Relocation Center|Manzanar Relocation Center]]'' (1943)<ref>{{cite archive | last = U.S. Civil Service Commission. | item = Baton practice, Florence Kuwata, Manzanar Relocation Center | item-url = http://www.loc.gov/pictures/item/2001704608/ | item-id = LC-A35-5-M-34 | year = 1943 | fonds =  | file =  | box =  | collection = Ansel Adams's Photographs of Japanese-American Internment at Manzanar | collection-url = http://www.loc.gov/pictures/collection/manz/ | repository =  | institution = Library of Congress Prints and Photographs Division | accession =}}</ref>|alt=A black-and-white photography shows a smiling woman from below twirling batons with the sun behind her.]]

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.{{Sfn |Alinder|1996| p = 172}} Around February 1942, Steichen asked Adams to join him in the navy.{{Sfn |Alinder|1996| p = 172}} Adams agreed, but with two conditions: He wanted to be commissioned as an officer, and he would not be available until July 1.{{Sfn |Alinder|1996| p = 173}} Steichen, who wanted the team assembled as quickly as possible, passed on Adams and had his other photographers ready by early April.{{Sfn |Alinder|1996| p = 173}}

Adams was distressed by the [[Japanese American internment]] that occurred after the [[Attack on Pearl Harbor|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."{{Sfn |Adams|Alinder|1985| p = 263}} This work was a significant departure, stylistically and philosophically, from the work for which Adams is generally known.{{Sfn | O'Toole|2010|p = 24}} 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.{{Sfn |Alinder|1996|p = 175}}

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.{{Sfn |Alinder|1996| p = 239}}

Adams was the recipient of three [[Guggenheim Fellowship]]s during his career, the first being awarded in 1946 to photograph every national park.{{Sfn |Alinder|1996| p = 217}} 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 [[San Francisco Art Institute|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.<ref>{{cite web | last = Mix | first = Robert | url = http://www.verlang.com/sfbay0004ref_timeline_05.html | title = SF Bay Area Timeline: Modernism (1930–1960) | publisher = Vernacular Language North | archive-url = https://web.archive.org/web/20120524094806/http://www.verlang.com/sfbay0004ref_timeline_05.html | archive-date = May 24, 2012 | access-date = November 7, 2008 | url-status = dead | df = mdy-all}}</ref><ref>{{cite web | title = SFAI History | url = https://www.sfai.edu/about-sfai/sfai-history | publisher = San Francisco Art Institute | access-date = March 5, 2019 | archive-date = March 5, 2019 | archive-url = https://web.archive.org/web/20190305213609/https://sfai.edu/about-sfai/sfai-history | url-status = live }}</ref> The photography department produced numerous notable photographers, including [[Philip Hyde (photographer)|Philip Hyde]], [[Benjamen Chinn]], and [[William Heick|Bill Heick]].<ref>{{cite book | last1 = Comer | first1 = Stephanie | last2 = Klochko | first2 = Deborah | last3 = Gunderson | first3 = Jeff | title = The moment of seeing : Minor White at the California School of Fine Arts | date = 2006 | publisher = Chronicle Books | isbn = 978-0-8118-5468-9 | page = 202}}</ref>