It's an antique collector's dream: buying an old box at a garage sale and discovering it contains famous lost works worth a fortune.

That's what Rick Norsigian said happened to him. Ten years ago, the Fresno painter stumbled upon a trove of 65 old glass negatives that he says have been authenticated as the work of famed nature photographer Ansel Adams, possibly worth $200 million.

"This is absolutely beyond what I thought," the 64-year-old said at a press conference held at a Beverly Hills art gallery on Tuesday. "I'm very lucky."

Norsigian's lawyer Arnold Peter said a team of experts who studied the negatives over the past six months concluded "beyond a reasonable doubt" that the photos were Adams' early work, and they were believed to have been destroyed in a 1937 fire at his Yosemite National Park studio.

"These photographs are really the missing link," he said. "They really fill the void in Ansel Adams' early career."

Adams is renown for his timeless black-and-white photographs of the American West, which were produced with darkroom techniques that heightened shadows and contrasts to create mood-filled landscape portraits. He died in 1984 at 82.

His photographs today are widely reproduced on calendars, posters and in coffee-table books. His prints are coveted by collectors.

Yosemite National Park fetched $722,500 for Ansel print "Clearing Winter Storm" at an auction last month in New York, a record for 20th century photography.

Norsigian, who works for the Fresno Unified School District, is already planning to capitalize on his discovery. He's set up a website to sell prints made from 17 negatives from $45 for a poster to $7,500 for a darkroom print with a certificate of authenticity. A documentary on his quest to have the negatives authenticated is in the works, as well as a touring exhibition that will debut at Fresno State University in October.

Representatives of Adams, however, said they're not buying Norsigian's claims.

"It's an unfortunate fraud," said Bill Turnage, managing director of the Ansel Adams Publishing Rights Trust. "It's very distressing."

Turnage said he's consulting lawyers about possibly suing Norsigian for using a copyrighted name for commercial purposes. He described Norsigian as on an "obsessive quest." ''We've been dealing with him for a decade," he said. "I can't tell you how many times he's called me."

Adams' grandson, Matthew Adams, who heads the Ansel Adams Gallery in San Francisco, said he reviewed Norsigian's authentications last fall and thinks they're stretches. Many photographers took pictures of the same places Adams did in that era, he said.

"There is no real hard evidence," he said. "I'm skeptical."

Norsigian bought the negatives from a man who said he had purchased the box from a Los Angeles salvage warehouse in the 1940s, bargaining the price down from $70 to $45. He saw they were of views of Yosemite but never suspected they might be Adams' works until someone mentioned they resembled the famed photographer's shots. "We got a laugh out of that," Norsigian said.

But the idea stuck with Norsigian and he started researching the photographer, eventually concluding they were Adams' works.

The shots are of places Adams frequented and photographed. Several shots contain people identified as Adams associates. Adams taught at the Pasadena Art Center in the early 1940s, which would account for the negatives being in Los Angeles. The negatives are the size Adams used in the 1920s and 30s and several have charred edges, possibly indicating the 1937 fire.

"You keep adding bits and pieces," Norsigian said.

For years, he tried to get them officially verified, taking them to experts at the Smithsonian Institution, the Getty Center and others, but no one would venture to authenticate them.

Three years ago, he met Beverly Hills entertainment lawyer Peter, who assembled a team of experts to review the negatives.

The key evidence came from two handwriting experts, who identified the writing on the negative sleeves as that of Adams' wife Virginia.

But Matthew Adams said there were inconsistencies in the handwriting and a lot of misspelled Yosemite place names. "She grew up in Yosemite. She was an intelligent, well read woman. I find it hard to believe she would misspell those names," he said.

Peter also hired a meteorologist who studied the cloud formation, snowdrift and shadows on one image and compared it with a similar photograph by Adams, concluding they were taken at the same location on the same day.

But Matthew Adams said those evaporation clouds appear every day and the snowdrift is on mountains 20 miles away. "I suggested carbon dating of the charring and the envelopes," he said.

Matthew Adams said it was unlikely his grandfather would have misplaced the negatives, especially after the devastating fire that destroyed 5,000 negatives - a third of his portfolio. "Ansel was very meticulous about his negatives," he said. "He kept them in a bank vault in San Francisco after the fire."

Beverly Hills art appraiser David W. Streets said he conservatively estimated the negatives' value at $200 million, based on current sales of Adams' prints and the potential for selling never-seen-before prints.

Turnage called that figure ridiculous because the value of Adams' work is in his darkroom handcrafting of the prints, and said the negatives are next to worthless.

"Ansel interpreted the negative very heavily. He believed the negative was like a musical score. No two composers will interpret it the same way," he said. "Each print is a work of art."

Norsigian is not fazed by naysayers. "Prove me wrong," he said. "This has been such a long journey. I thought I'd never get to the end. It kind of proves a construction worker-painter can be right."

Oklahoma might be the last place you’d expect to find Lady Gaga, but when you can sell out anywhere in the world, why not? Being fans of the inappropriate, we couldn’t think of a better place to take in the experience, and at least we had a shot at press access in the bible belt. We didn’t exactly have to beg our resident pop-aholic Steven Anthony to take on the assignment, who was also tasked with checking out LA “buzz” band Semi Precious Weapons… Who we figure must be doing something right to nab such a high profile gig.

At this point in her career, Lady Gaga really needs no introduction. Love her or hate her, she’s here and is more than likely not going anywhere anytime soon.

She made this clear several times during her set Tuesday night at Oklahoma City’s Ford Center. The Westboro Baptist Church was stationed outside spewing their apocalyptic bullshit, blaming everything on the gays. Yet inside the arena, Gaga was having a love affair with 20,000 people, preaching a message of “love and unity,” in her words. If you love her, she’s all for that; If you hate her, too fucking bad, she’s here to stay.

Despite getting an underwhelming response from the crowd, opening act Semi Precious Weapons did an admirable job, with a tight performance that brought the album versions of songs from their new album You Love You to life without compromise. Under the shadow of Gaga they were just killing time. However, they could very well amaze in their own context, on a smaller, club or theater sized stage, as the band’s hype has suggested.

Lead singer Justin Tranter is an entertaining, androgynous being, fond of theatrics as any Gaga support act would have to be. It slithered around the stage for the entirety of the band’s short set, at times pouring champagne over the first few rows. At one point Tranter stripped down on stage for a costume change… From shiny reflective gold clothing to shiny reflective silver clothing.

Throughout two hours, Gaga provided a run of her biggest hits plus a few deeper album cuts. The show is designed as a five-part “play,” based around Gaga and her friends trying to make it to the “Monster Ball.” Just what the Monster Ball is, we never really learn, but throughout the five acts the “story” attempts to keep concert goers entertained but really just seems like more of an afterthought.

The stage setup was fantastically elaborate of course, at times set up like a grungy backstreet complete with rusty scaffolding and at other times like a creepy forest with bleeding statues. Gaga made sure the crowd would have constant visual stimulation, even going so far as to play Speechless on a piano that was literally on fire.

Towards the end of the show, when Gaga and her friends finally arrive at the Monster Ball, her backup dancers dress entirely in black to control a giant terrifying angler fish which Gaga then fights off with a spark-shooting bra and crotch piece during set-closing performance of Paparrazzi. Yeah, it makes about as much sense in person, but damn if it doesn’t make for an entertaining show.

After she finished performing LoveGame, she whipped out her “disco stick” and went around shining the light on the end at the crowd, examining costumes and commenting on concert-goers. Someone also managed to throw a Cardinals jersey up on stage which she decided to wear, followed by a Yankees cap which she then also put on. Then a fan tossed a book up on stage and Gaga seemed genuinely emotional; It was Rilke’s Letters To A Young Poet, of which she has a passage from tattooed on the inside of her arm. She read from it to the crowd. Only at a Gaga concert.

Unlike most of the pop artists whose concerts I attend, Gaga is a true performer. Her voice sounded absolutely spectacular, and while at times she was performing with backing tracks (a necessary evil for multi-layered pop), she always made sure the crowd knew she was singing live. Oh, and she plays a keytar several times during the show, which is something you can’t pull off unless you’re a real badass. Meanwhile, her full live band was a well-oiled machine, often doing double duty by participating in the choreography.

Gaga spent much of the night proclaiming her love for the LBGT community, something that means a lot to these kids in the conservative state of Oklahoma. She didn’t tone down anything for the show here and several times pointed out that it’s not only okay to be yourself, but that she expects no less from her Little Monsters. During the video introduction, Gaga revealed that she is working with a charity organization to raise money for homeless LBGT kids, and that she would match any money donated to the dollar. Classy stuff, for real.

Gaga’s “Monster Ball” tour is going to be one of the biggest of the year with good reason, and while the ticket prices are high (averaging at $150), they are worth it for any fan of pop music. Gaga is, of course, peerless for the time being, and two hours of Gagaland is probably the most interesting scene you’re going to find inside of a concert arena.