Modern Replicas are superb reproductions of Ansel Adams’ original photographs, available in a variety of sizes to fit your specific needs. These are the highest quality large format reproductions that could possibly be produced, and look great in any setting. Exclusively from The Ansel Adams Gallery.

Each Modern Replica is individually produced and inspected, and matched to a master proof. It is “T” hinge mounted to an acid-free backer and overmatted with 8-ply museum rag board. The image and paper is estimated to resist fading or deterioration for over 180 years. The overmat, custom selected and cut to the image, has a generous border to create a powerful effect. Framing options have been carefully selected by our experienced staff to make the most beautiful presentation possible.

These digital reproductions are available in image sizes from 8×10″ up to 42×56″ (on certain images). Available mounted and matted or framed in three styles of metal frames and two styles of wood frames.


Finishing and Framing Options

Our Modern Replicas are available in five finishing options and up to six sizes.

Unframed (Mounted and Matted) mounted on acid-free foam core (tip-mounted for sizes 8×10, 11×14,16×20 and dry-mounted for sizes 20×24, 24×30, 30×38) with an 8-ply acid-free overmat.


Metal Frames (Approximately 1 ” width, 1 1/4″ depth) a medium flat faced aluminum frame

Wood Frames (2″ width, 3/4″ depth) a flat, wide width wood frame

Rolled (un-mounted) We offer four images (Winter Sunrise, Monolith, Aspens, Yosemite Valley Thunderstorm) in 42×56″ rolled.

*NOTE: Wood frames are not acid-free

Size Chart
Dimensions are listed in inches

image size

matted size

metal frame

wood frame


About the Modern Replica – Technical Details

Modern Replicas are very high quality reproductions of Ansel Adams images, available in multiple sizes, made using the most advanced digital technologies today. Each one is individually produced and inspected, assembled with the best materials, and designed to provide the most elegant presentation possible. Available exclusively from The Ansel Adams Gallery.


The technology begins with imaging, but the entire process begins with image selection. The Modern Replicas are reproductions made from original photographs hand printed by Ansel Adams, rather than from the negatives. This allows us to accurately capture Ansel’s intent when he made the photograph, including all of the choices he made in the darkroom – paper selection, burning, dodging, and toning – to achieve his “visualization”. We have chosen prints from the collections of the Ansel Adams family and the Ansel Adams Archive at the Center for Creative Photography at the University of Arizona. The exact print is selected based on the tonal values and clarity.


The imaging technology we are using is not generally available. It is currently in use by only three entities in the US: ourselves, the GettyMuseum, and the Smithsonian Institution. Every element of the image capture is carefully controlled and characterized – the image capture device, color temperature of the lighting, how light falls on the print, and colorimetric readings of the print itself. These elements are then processed with the raw image file using a specialized software program to produce the most accurate baseline image file possible. There is some modest ‘cleaning’ done after the scan is made, but this process provides a nearly 100% color accurate file across 100% of the image area.

The image capture is done in full color, because all gelatin silver prints will have subtle hues of cyan, magenta, and yellow that the eye renders as gray or black. It is only recently that the technology has advanced to the point that these hues can be replicated on paper without creating noticeable (and disagreeable) color shifts. Prior to these advances, gray scale reproductions could look good, but simply did not have the right tonal qualities to be acceptable for Ansel’s work. The printers are constantly self calibrating, and use 12 different inks, including 4 shades of gray. They offer a consistency from Modern Replica to Modern Replica that is unmatched.

Quality Control

Even in, or perhaps especially in, a mechanical process, quality control is critical. Sometimes the technology provides a level of QC that is acceptable, such as printers constantly self calibrating. Regardless, we eye-match every single print to a master and take colorimetric readings on a regular basis to validate the tonal qualities of the Modern Replica. Each one is inspected for other aberrations – scratches, paper dust, paper flaws, or general hiccups. Our standards are very high, and we will not offer anything less than superb.


The “archival-ness” of a medium has become a very important in the world of photography and digital imaging and printing. Many types of color photographs have had a tendency to deteriorate quickly, and early digital printing technologies could only expect to last 5 to 8 years without noticeable deterioration. Recent advances have lengthened the “archival stability” – measured by the length of time that a medium would be expected to retain its tonal characteristics – of certain printing media to over 100 years. The paper and ink used in the Modern Replica have been estimated to last over 180 years.

Display and Design

The design of the Modern Replica starts with the choice of paper. This is a heavy paper that mimics the look and feel of gelatin silver paper. We found in testing that it provided the richest feel and carried the image the best.

We have carefully designed the finished look and specified the material, sizes, cut, color, mount, and frame profile to dramatize each image at the size you choose.

  • The Modern Replica is “T” hinge mounted to an acid-free foam core backer for sizes 8×10, 11×14 and 16×20. Dry mounted for sizes 20×24, 24×30, 30×38 – the foam core provides stiffness and the hinging allows the print to lay flat with less chance of warping as humidity changes.
  • The 8-ply overmats are museum quality acid-free rag board, also hinge mounted to the backer for sizes 8×10-16×20.
  • The color of the overmat is specified based on the tonality of the image, for example, Modern Replicas with more of a vintage feel (Sierra Meadow) will have a creamier overmat than others.
  • Each overmat is custom cut to reveal just the image, with a generous outside border. The size of the overmat is close to standardized, enabling multiple images to be hung together, but with some variation relative to the proportions of the image itself.
  • The frame itself can also add or detract from the overall presentation. We have selected five different options to accommodate different preferences and environments – wood and metal, each with two profiles, and different colors. Plexi-glass is used to provide protection for the print during shipping and for display.