About Lapham’s Quarterly:

“Each issue of Lapham’s Quarterly adopts and explores a single theme. Our first four issues were dedicated, respectively, to War, Money, Nature, and Education, each created with an aim to help readers find historical threads from Homer to Queen Elizabeth I to George Patton, from Aesop to Edith Wharton to Joan Didion. New essays from writers such as Stanley Fish, Fritz Stern, and Andrew Delbanco then knotted each theme together. A typical issue features an introductory Preamble from Editor Lewis H. Lapham; approximately 100 “Voices in Time” — that is, appropriately themed selections drawn from the annals and archives of the past — and newly commissioned commentary and criticism from today’s preeminent scholars and writers.” (more)

First spotted via This Isn’t Happiness.

About this photograph:

“At dawn, on a chill April 17 in 1927, my fiancée, Virginia, two friends (Charlie Michael and Arnold Williams), and I drove from our home to HAppy Isles and began an eventful day of climbing and photographing. I had my 6½ × 8½ Korona View camera, with two lenses, two filters, a rather heavy wooden tripod, and twelve Wratten Panchromatic glass plates. Those were the days when I could climb thousands of feet with a heavy pack and think nothing of it; I was twenty-five and weighed about 125 pounds. Virginia and friends were fine climbers in those pre-roping times, and nothing daunted us.

[…] This photograph represents my first conscious visualization; in my mind’s eye I saw (with reasonable completeness) the final image as made with the red filter. I knew little of “controls.” My exposures were based on experience, and I followed the usual basic information on lenses, filter factors, and development times. The red filter did what I expected it to do. […] I can still recall the excitement of seeing the visualization “come true” when I removed the plate from the fixing bath for examination. The desired values were all there in their beautiful negative interpretation. This was one of the most exciting moments of my photographic career.”

Quoted from the book Examples. The Making of 40 Photographs, Boston: Little Brown and Company, 1983, p. 3-5

About the year 1927 in Adams’ life:

“Nineteen twenty seven was the pivotal year of Adams’s life. He made his first fully visualized photograph, Monolith, the Face of Half Dome, and took his first High Trip. More important, he came under the influence of Albert M. Bender, a San Francisco insurance magnate and patron of arts and artists. Literally the day after they met, Bender set in motion the preparation and publication of Adams’ first portfolio, Parmelian Prints of the High Sierras [sic]. Bender’s friendship, encouragement, and tactful financial support changed Adams’s life dramatically. His creative energies and abilities as a photographer blossomed, and he began to have the confidence and wherewithal to pursue his dreams.” (more)

Learn more about the Half Dome and Ansel Adams (Wikipedia).