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Ansel Adams Artworks

American Photographer

Ansel Adams Photo

Born: February 20, 1902 - San Francisco, California

Died: April 22, 1984 - Monterey, California

Artworks by Ansel Adams

The below artworks are the most important by Ansel Adams - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Monolith, the Face of Half Dome, Yosemite National Park (c. 1927)

Monolith, the Face of Half Dome, Yosemite National Park (c. 1927)

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."

St. Francis Church, Ranchos de Taos, New Mexico (c. 1929)

St. Francis Church, Ranchos de Taos, New Mexico (c. 1929)

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.

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Rose and Driftwood, San Francisco, California (c. 1932)

Rose and Driftwood, San Francisco, California (c. 1932)

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.

Moonrise, Hernandez, New Mexico (1941)

Moonrise, Hernandez, New Mexico (1941)

One of Adams's most famous photographs, and one of the most iconic photographs of the modern era, Moonrise, Hernandez, New Mexico, is a dramatic image of a moon rising over the small southwest town, near Santa Fe. A scene that is momentarily both dark and light, Moonrise, shows the town's buildings bathed in late evening light just moments before the sun will set and darkness will envelop the town. Here Adams approached photography as he would a piece of music, interpreting the negative and print like a conductor interprets a score. Adams often repeated the mantra that "a photograph is made, not taken" and in this regard, as Anne Hammond has noted, "the technical controls that Adams had perfected enabled him to realize [...] the mortality of individual human existence confronting the eternity of the universe, the theme of life and death."

The story of the photograph's creation has become the stuff of myth. The story goes that Adams happened on the scene, which he later called "an inevitable photograph," while driving home from Santa Fe. He later recalled rushing to stop the car and pulling out his 8 x 10 camera and gathering the appropriate lens and filter only to realize that he could not find his light meter. The situation was made all the more dramatic because the sun would soon be setting and the light illuminating the cemetery crosses in the foreground would be gone. Adams used his technical skill and knowledge of exposure to approximate the correct exposure for the photograph based only on the luminosity of the moon. Utilizing his Zone System he determined the tonal range (from white to black) in order to previsualize the final print. This method allowed him here to visualize the negative and the tonal range of the various elements in the image - the white crosses in the foreground, the dark sky and rising moon - before choosing the exact moment to release the shutter.

Grand Teton and Snake River, Wyoming (1942)

In 1941, at the height of World War II but before the bombing on Pearl Harbor, Adams received a commission from the U.S. Department of the Interior to photograph National Parks and other notable landscapes. In exchange for film, paper, and darkroom chemicals, and a day rate of $20, Adams would provide photographic murals for display in the halls of the Department of Interior. Although Adams took some 225 photographs for the project (including this image), the project was later dropped (never to be resumed) due to America's sudden involvement in the war.

Grand Teton is a masterful photograph that draws the viewer's eye from the river in the foreground, around the bend to the snow-capped mountains of the Grand Teton, and up towards the brooding sky in the background. Adams's vivid landscape makes use of sharp focus and natural light to capture the true splendor of the National Parks. As Adams said of his vista: "The grand lift of the Tetons is more than a mechanistic fold and faulting of the earth's crust; it becomes a primal gesture of the earth beneath a greater sky." Adams, who was always more drawn to the natural world than the people in it, was criticized however for ignoring political events at home and abroad, most famously by Henri Cartier-Bresson. "The world is going to pieces," Cartier-Bresson chided "and people like [Ansel] Adams and Weston are photographing rocks!"

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Roy Takeno, Editor, and Group Reading Paper in Front of Office, Manzanar Relocation Center, California (1943)

Roy Takeno, Editor, and Group Reading Paper in Front of Office, Manzanar Relocation Center, California (1943)

Three months after the attack on Pearl Harbor in December of 1941, an Executive Order was issued which decreed that all Americans of Japanese descent living in California, Oregon, and Washington would be housed in temporary internment facilities. The Manzanar Relocation Center was located in the Owens Valley, on the eastern base of the Sierra Nevada mountains. Adams was invited to document life in the camp and travelled to Manzanar on two occasions: October 1943 and July 1944.

A rare foray by Adams into documentary photography, Roy Takeno, Editor, and Group Reading Paper in Front of Office, shows three American-Japanese men reading the local newspaper on the steps of the Free Press Office. Carefully composed to spotlight the figures in the foreground, the men are framed against nondescript buildings in the middle foreground, while the snowy peaks of the Sierra Nevada mountains occupy the horizon. With a composition that brings everything within the picture frame into sharp focus, the photograph accords with the principles of Straight Photography. Yet Adams's documentary image gives us little indication that the blameless men have been impounded. Indeed, Adams's Manzanar photographs were harshly criticized by his colleague Dorothea Lange for ignoring the injustices perpetrated on the citizens interned there. Photography curator John Szarkowski read the image differently, however, suggesting Adams had wanted to show that "in spite of the injustices they suffered, [Japanese-Americans] had maintained their cohesion, their dignity, and their will."

Adams's Manzanar photographs were published by U.S. Camera as Born Free and Equal in 1944 and appeared the same year at the Museum of Modern Art in an exhibition entitled "Manzanar." Whatever one's take on his approach, Adams himself had long been frustrated by his inability to contribute to the war effort (due to his age) and he hoped that his photographs, which were also circulated as a traveling exhibition by the Museum of Modern Art, would contribute by highlighting the injustice facing Japanese-Americans living on the west coast. (It is an interesting aside that the camp was home to Toyo Miyatake, a professional Japanese-American photographer who operated a studio at Manzanar and documented daily life within Manzanar from the viewpoint of the internees.)

Related Artists and Major Works

Percé Beach, Gaspé, Québec (1929)

Artist: Paul Strand (Read Full Artist Overview, Biography, and Artworks pages)

In 1929, Strand took a trip to Canada with his wife, Rebecca Salsbury. While there, he produced this landscape. Though Percé Beach meets the principal criteria for a landscape, we can find aesthetic correspondences here with his more iconic Wall Street photograph (produced 12 years earlier). In this photograph, rather than a building, a large body of water dominates the frame; it is the cliffs, that enter from the left side of the frame, that this time cast their shadows over a body of sea (rather than pavements).

In a statement that seems at first a little incongruous, Strand spoke of color in his photography. He was of course shooting in black and white, but it was his practice to use papers with color tint (while bemoaning the fact that "everytime I find a film or paper that I like, they discontinue it") that imitated the atmosphere of the location at which he was shooting. In this case Strand used paper with the cold blue tones that had matched his experience on the Percé Beach shoot. In keeping with his fascination of 'how spaces are filled', moreover, Strand was of a mind that a balance of weight and air in the photograph was the most important compositional factor. The weight is created by dark tones in rocks, rooves and boats; the idea of air being expressed by the light in the sky and as it is reflected on the surface of the sea. When one looks for evidence of Strand's commitment to represent the lives of ordinary people, meanwhile, we find a workers' narrative in the bottom foreground of the frame. We see small figures, this time 'dwarfed' by the forces of nature (rather than man-made architecture), grappling with a large fishing boat. It is unclear if the fishermen are about to set sail, or if they are preparing to moor their vessel, but the spectator is left in little doubt of its importance to their lives and livelihoods.

Equivalent (1930)

Equivalent (1930)

Artist: Alfred Stieglitz (Read Full Artist Overview, Biography, and Artworks pages)

Stieglitz's cloud series - Equivalents - captured ephemeral formations in the sky. This photo is divided between dark, black clouds on the left and bright sky on the right. Without context, the subject seems difficult to pinpoint, though Stieglitz intended the series to be an exploration of his changing mental state, with each shot of the sky representing an equivalent of his mood at the time the picture was captured. One of his more revered later works, the series is also the high point of abstraction in his career.

Identical Twins, Roselle, New Jersey (1967)

Movement: Straight Photography (Read Movement Overview, History, and Artworks pages)

Artist: Diane Arbus (Read Full Artist Overview, Biography, and Artworks pages)

Arbus photographs two identical twin sisters, dressed in matching dresses, standing in front of a white wall in a Knights of Columbus hall in New Jersey. The identical black and white elements of their dress create a psychological effect: the white collars, cuffs, stockings, and headbands contrast with their dark hair and dresses, suggesting that we are looking at the dark and light aspects of the human character. Accordingly, the differences in their facial expressions convey two different personalities: the girl on the right seems self-confident in her body language, whereas the girl on the left seems guarded, her slightly raised shoulders, downturned mouth, and lowered eyes communicate a sense of aversion. The effect is uncanny; it is as if we are looking at the surrealistic theme of the double, the division between the conscious and unconscious self.

Arbus's portraits had a significant impact on the notion of new documents in the 1960s, because they reveal the strangeness underlying ordinary reality. Known for her portraits of freaks, nudists, and people at the fringe of American society, her direct approach towards her subjects gave her work a sense of authenticity. The strangeness depicted was not the result of photographic manipulations but reality as it revealed itself to her. Her photographs provide glimpses into the dark side of American consumer culture, its psychological truths and constricting conventions, the anger and frustration just below its surface. It is this direct, brazen, even empathetic seeing that defines Arbus's achievement.

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