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Summary of Ansel Adams
Ansel Adams was the most important American landscape photographer of the 20th century. He might also be the most widely known and respected of all American photographers, whose legend continues through books and television documentaries, and through the prevalent reproduction of his work on calendars, posters, postcards and other ephemera. Adams's professional life was dedicated to capturing through his lens the forgotten and unspoiled wilderness of America's national parks and other protected conservation areas in the West. He was a committed environmentalist and nothing short of an icon for the 20th century conservation movement.
Adams and his friend and colleague Edward Weston founded Group f/64 whose commitment to the idea of a pure, or "higher", photography helped shape the history of early-to-mid 20th century modernism and secured photography's place - as fine art - within it. Adams himself was a highly accomplished technician. He published books - or manuals - on the technical aspects of photography and he used his own portfolios to help lobby politicians for the creation and upkeep of American National Parks. In 1952, with Beaumont and Nancy Newhall, Dorothea Lange, Minor White and others, Adams co-founded the photography quarterly, Aperture which was part of Adam's career-long mission (started with Group f/64) to promote the merits of serious, contemplative, photographic art. Aperture still publishes to this day.
- In the mid-19th century, the painted American landscape was most readily associated with the so-called Hudson River School. The School tended towards idyllic tableaus showing scenes of calm pastoralism. It was a style disparaged (albeit somewhat harshly) by modernists who thought the Hudson tradition in photography merely reinforced the conservative taste for wistful picture narratives. Adams believed that, if approached in a spirit of the age of modernity, landscape photography might in fact match music or poetry in its potential to stimulate a sense of higher contemplation in the spectator. Adams's goal then was to capture the true majesty of the natural world within a single frame and, if he could achieve this using a combination of technical skill, dogged leg-work and intuition, then the better the chances of producing landscapes that were more than just pictorial.
- Though his fame is founded on his iconic American landscapes, Adams also produced a small number of still life studies. Like his landscapes, Adams brought a modern sensibility to what was a traditional painterly genre. Without distorting the objects in front of his lens (as was, say, Weston's preference), Adams used sharp focus to emphasize primary elements and relations between objects that might have ordinarily gone unnoticed. In this sense he demonstrated how the photographer could invite the spectator to consider the beauty of everyday things by using the camera to remove, or "liberate", the objects from their original setting.
- As co-founder and active member of Group f/64, Adams and his colleagues took Paul Strand's Straight Photography principles and customized them to the ends of promoting a higher art. Whereas Strand's images were flat (by design), Adams's were all about ultra-sharp depth of field (the appellation f/64 was an optical reference to the aperture setting (f/64) that produced the finest picture detail). However, Adams brought an added level of personal commitment to his technical know-how. Led by his affinity with the natural world, he would often trek between dawn and dusk in order to find the right location from which to secure his images.
- Adams was known not just for the brilliance of his images, but for his technical expertise too. His book Making a Photograph (1935) was a highly distinguished instructions manual illustrated with his own prints. It was through his pursuit of technical mastery indeed that Adams and Fred Archer developed what became known later as the "Zone System," a method by which the photographer could "pre-visualize" the tonal quality of the final image at the very point of taking the picture.
Biography of Ansel Adams
The love of the outdoors and the joy of recording nature made Ansel Adams the quintessential landscape photographer of the 20th century.
Important Art by Ansel Adams
A dark and brooding image of the Half Dome in Yosemite National Park, Monolith is a high contrast black and white photograph in sharp and deep focus (from foreground to background). Less a representation of how the landscape looked at that precise moment than a dramatic rendering of the photographer's emotions upon viewing the scene, the Half Dome image is amongst Adams's best known, and most important, photographs. He later said of this image: "The great rocks of Yosemite, expressing qualities of timeless, yet intimate grandeur, are the most compelling formations of their kind. We should not casually pass them by for they are the very heart of the earth speaking to us."
Moved by the Yosemite landscape, Adams hoped to use his camera to capture his own feelings towards this magnificent natural environment. According to Adams scholar Anne Hammond, "Opposite the cliff and halfway to the top, the ground glass gave a view as close as one could get to the physical experience of climbing the sheer rock-face. The slight perspective distortion of the extreme oblique view compressed the Dome into a vertical tower, emphasized by the line of shadow in the center." In bringing together the face of the half dome, an emblem of the Yosemite Valley, and the High Sierras beyond, "the Half Dome stands like a great headstone, [a] symbol of the insurmountable fact of mountain experience."
The photograph was taken from a vantage point known as the Diving Board, a granite slab that hangs 3,500 feet above the valley floor. Adams had been searching for a view of the Half Dome that also conveyed his sense of wonder. By the time he reached the Diving Board, Adams had only two glass plate negatives left in his satchel. The first of the two was exposed with a yellow filter that he knew would darken the sky slightly. With the second, Adams used a dark red filter that significantly darkened the sky and subsequently emphasized the white snow and gleaming granite of the half dome. The resulting photograph marked a turning point in Adams's work: he had effectively previsualized what the photograph would look like before he pressed down on the shutter. He would later explain that "this photograph represents my first conscious visualization; in my mind's eye I saw (with reasonable completeness) the final image as made." In the years that followed, Adams would refine his ideas about previsualization in what he later called the "Zone System."
In the spring of 1929, Adams and his wife Virginia spent several months with writer Mary Austin in Santa Fe, New Mexico. It was during this trip that Adams and Austin decided to collaborate on a book about Santa Fe and the surrounding area. Austin introduced Adams to Mabel Dodge Luhan, the Santa Fe arts patron who was hosting artists of the caliber of Georgia O'Keeffe around the same time. Luhan was married to Tony Lujan, who was a member of the Taos tribal council and it was he who gave Adams permission to photograph at the Taos Pueblo.
A somewhat transitional photograph for Adams, St. Francis Church, Ranchos de Taos, New Mexico, is a rare soft-focus image of the angular white-washed church bathed in soft light and shadow. While illustrating his obvious concern with form and the effects thereon of natural light, this image makes clear that even as late as 1929, Adams was working with a soft focus, and with textured paper. Both of these practices were in keeping with the (later scorned) Pictorialist method. Indeed, this, and other photographs from the limited-edition book, Taos Pueblo (1930), were printed on special Dassonville paper that was rag-based and warm in tone. The upshot was a collection of images (like St. Francis Church) that lacked the sharp focus and glossy paper characteristics that marked his later photographs (or, for that matter, some earlier images, including Monolith, The Face of Half Dome). With prose by Austin, the book included photographic prints rather than reproductions of Adams's Taos photographs.
In Rose and Driftwood, Adams made use of sharp focus and high contrast to depict the delicate veins of the rose and the raised striations of the driftwood. The resulting image is a strikingly modern interpretation of the traditional still life. Unlike his contemporary Edward Weston, who preferred to isolate objects by physically removing them from their surroundings, Adams married the rose with the wood on which it was placed. Drawing on his experience of photographing landscapes - imparting on him an eye for texture, contrast, composition, and an emotional connection with his choice of subject matter - Adams treats the rose and driftwood in much the same way, using the concentric circles of the driftwood and the rose rising from its surface like elements found in nature.
Adams met Weston in 1927 and Paul Strand in 1930, both of whom excelled at the modern photographic still life. Although he was critical of Weston's extreme close-up photographs of objects (including his famous Pepper (1930)) Adams was impressed by Strand's use of Straight Photography to render the natural world. And it was through Strand that Adams began to understand that photography could be used as an expressive art form in its own right. Although Adams had already received some measure of success in photography, but following his meeting with Strand, he discarded altogether the soft focus and textured paper, and began working rather with a smooth, glossy paper that enabled the sharp detail he now strived for in his negatives. This photograph, and others from this period, mark Adams's shift towards Straight Photography. The same year (1932) Adams, Weston, Imogen Cunningham, and others formed the Group f/64, which dedicated itself to the furtherance of photography as fine art.