From the foreword:
"Few Americans have so effectively as Uelsmann rendered in art the union of human beings with nature."--David Robertson, University of California, Davis
From the introduction:
"Some artists view the world as if looking through a window at things happening 'out there,' while others view the world as if looking in a mirror at a world inside themselves. Uelsmann bridges that gulf, taking in optical reality and offering back a landscape of the mind. . . . For years I looked at [his] pictures, trying to figure out what all those juxtapositions meant. Until one day I suddenly realized: there are no juxtapositions. Jerry Uelsmann's Yosemite is a world complete unto itself."--Ted Orland, photographer, coauthor of Art and Fear
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When Jerry Uelsmann composes Yosemite National Park, rocks float. So do clocks and flamingos. Nudes glide through white water rapids. Acclaimed as an international master of photomontage, Uelsmann creates images of the park so wild and personal that they expand the concept of nature photography.
 For collectors of Uelsmann's work, this is the first time his photography has been presented in a book unified by a single theme, the landscape of Yosemite. Whether it's a place that thousands of tourists visit every year, or an aesthetic in the mind, Uelsmann allows his audience to decide. Indeed, the bold eyeballs that peer off these pages--from trap door and tree trunks and stuffed owls--compel the viewer to participate in his artistic consciousness.
 In the early '70s, Ansel Adams invited Uelsmann to teach a workshop with him in Yosemite. In the following years, Uelsmann returned to the park on many occasions, including a
stint in 1992 as artist-in-residence. This book celebrates his interior journey through Yosemite, a spiritual adventure that's both playful and poetic. (Adams is on the itinerary, stenciled in silver on the face of Half Dome.)
 In the introduction, writer and photographer Ted Orland describes Uelsmann's mind as a universe that's "undeniably Jungian--a place where angels linger, paradox abounds, and the earth at times yields darker secrets."Â
 In his efforts to fathom the secrets of the park, Uelsmann says he wrestles with the Yosemite gods, fighting the whole notion of the romantic landscape tradition, every time he works with his Yosemite negatives. "The strong presence of the place turns the struggle for personal vision into an event that is introspective and challenging," he writes. "Over the years, a few specific trees and rocks have become friends and I visit them whenever I go. They are an important part of this book." Â
Jerry Uelsmann's work is permanently represented in all major collections, including those at the Metropolitan Museum (New York), the Fogg Art Museum at Harvard University, and the Royal Photographic Society (London). He has had one-person shows in museums and galleries worldwide, including the Museum of Modern Art in New York, the Art Institute of Chicago, and the George Eastman House. His previous books with the University Press of Florida include Uelsmann: Process and Perception (1985) and Jerry Uelsmann: Photo Synthesis (1992). He has been graduate research professor of art at the University of Florida since 1974.
