Ansel Adams: Up Close by Iman

ANSEL ADAMS UP CLOSE

The Metropolitan Museum of Art New York, New York Published in the United States by Oxford University Press Inc., New York Printed in the United States of America Designed by Iman Sinnokrot and Danielle Sansoterra Photography by Ansel Adams

ansel adams â&#x20AC;¢ up close

AND PERSONAL

Arguably one of the worldâ&#x20AC;&#x2122;s most beloved figures in the history of American photography, Ansel Easton Adams is primarily known for his dynamic black and white images of the Yosemite Valley. As one of the most important landscape photographers of the 20th century, in addition to a devoted environmentalist and conservation activist, Adams used his work to promote the preservation of the American wilderness. Through the raw beauty of his photographs, Adams captured the natural world in a crisp, realistic manner and used them as tools in his campaigns to the American government, urging them to preserve untouched areas of the American West from desecration. While Adams preferred working

with black and white photography, he did not limit himself to one style. Every photograph Adams shot was carefully crafted; when composing each image, Adams searched for quality of light, contrast, shape, and, most of all, beauty. His photographs are famous for his revolutionary use of straight photography, as each of them pays special attention to detail and showcases an extreme depth of field. As the foremost portrayer of the American landscape, Ansel Adams is world renowned for his visionary adoration and preservation of beauty.

Self-Portrait in Victorian Mirror Atherton, California 1936.

Boards and Thistles San Francisco, CA, 1932

Born in San Francisco in 1902 to Charles and Olive Adams, Ansel Easton Adams held an immense fascination and appreciation of the world around him. As a child, Adams was extremely hyperactive, resulting in dismissals from several private schools. Thus, at the age of nine, Adams’s father sought private tutors to continue his son’s education. As a result, he lived a relatively solitary childhood. His father raised him to follow the philosophy of Ralph Waldo Emerson, which was “to live a modest, moral life guided by a social responsibility to man and to nature.” Adams embraced this philosophy whole-heartedly, easily finding joy in nature, as he would often be found taking long walks “in the still-wild reaches of the Golden Gate…[or] hiking the dunes or meandering along Lobos Creek, down to Baker Beach, or out to the very edge of the American continent.” According to William Turnage, author of Adams’s official website biography, “if Adams’s love of nature was nurtured in the Golden Gate, his life was, in his words, ‘colored and modulated by the great earth gesture’ of the Yosemite Sierra.” This

“ live a modest, moral

life guided by a social responsibility to man and to nature.

“

unconventional education played an avid part in Adams’s high regard for knowledge and beauty. His mother taught him how to play the piano and he excelled in his study of music. In fact, Adams’s love for music developed so strongly that, initially, his chosen career path was to become a professional pianist. However, that all changed when Adams’s first interest in photography sparked at the young age of fourteen. He was given a Kodak Box Brownie camera whilst on a trip with his parents to Yosemite National Park, a valley of mountains that he would soon come to photograph for decades. The following year, Adams returned to Yosemite with a tripod and a more advanced camera. Under the instruction of a local San Francisco photo finisher, Adams learned basic darkroom techniques, which he would later use as a solid foundation to develop his own approach. Adams’s early childhood training as a pianist strongly impacted the way he crafted the compositions of his photographs. With this training, he was able to “establish confidence in his ability to work intuitively, but with a command of exacting technique.” However, not everyone approved of his newfound passion. His mother disproved of his pursuit of photography, resulting in a distant and strained relationship between them. On the other hand, Adams’s relationship with his father was a warm and loving one, as Charles Adams “deeply and patiently influenced, encouraged, and supported his son.” In 1922, Ansel Adams’s photographs were published for the first time in the Sierra Club’s 1922 Bulletin. The following year, Best’s Studio, an art gallery located in Yosemite National Park, began to sell his Yosemite prints. Even in his early photographs, Adams’s work exhibited carefully crafted compositions and a vast sensitivity to tonal balance. For several years, in his early twenties, Adams carried a pocket edition of Edward Carpenter’s literary work Toward Democracy with him while he lived in Yosemite because it “espoused the pursuit of beauty in life and art…and [this] became his personal philosophy as well.” He later simply declared, “I believe in beauty.” Throughout his career, Adams believed that the pur-pose of his art, in any form, be it photography or music, was to reveal beauty to others and inspire them to the same calling. As an avid pursuer of beauty, Ansel Adams’s work is inextricably linked with his love of the natural world and this passion led him to become one of the world’s most influential and environmentally essential landscape photographers. The first visit to Yosemite with his parents impacted Adams immensely, leaving him forever transfixed and transformed. He began to spend a substantial amount of time there every year following up until his death in 1984. Throughout his time spent in Yosemite, Adams hiked, climbed, and explored in an effort to truly acquaint himself with the land. In 1919, he became a member of the Sierra Club, which was an essential proponent to his success in his early days as a photographer. The organization was the first to publish his photographs and writings in their 1922 Bulletin, in addition to featuring his photographs in a solo exhibition at their San Francisco headquarters. A few years later, in 1934, Ansel Adams was “elected to the club’s board of directors and was well established as both the artist of the Sierra Neva-

1940s series Surf Sequence

Sequoia Roots Mariposa Grove, ca. 1950

Roots Foster Garden, Honolulu, Hawaii , 1948

Horizontal Aspens Northern New Mexico, 1958

da and the defender of Yosemite.” While working for the Sierra Club, he was a dedicated activist for the preservation of the environment. Adams wrote thousands of letters to politicians, urging them to support his conservation efforts, however, his profound influence ultimately came from his photography. The photographs of Ansel Adams “became the symbols, the veritable icons, of wild America.” Often, Adams found himself “caught between the need to communicate the literal aspects of nature in order to educate society to ensure its preservation, and his strong artistic desire to reveal ‘the deeper impulse of the world.’” However, his images did not capture nature realistically. Rather, his photographs “sought an intensification and purification of the psychological experience of natural beauty.” Adams aspired to create images that spiritually and emotionally resonated with the viewer and communicate the importance of preserving these lands. At his core, Adams was a committed conservationist who used photography as a means to enlighten and educate the viewer that the remaining tracts of undeveloped land are extremely vulnerable. While Adams’s main preservation focus centered on Yosemite National Park, he still fought for the conservation and protection of numerous other wilderness areas and their inhabitants. His efforts ranged from fighting for new reserves to fighting “for the Wilderness Act, for wild Alaska and his beloved Big Sur coast of central California, for the mighty redwoods, for endangered sea lions and sea otters, and for clean air and water.” While the list of things Adams fought for are grand, the list of things he campaigned against are just as vast. He urged the American government to be conscientious, by practicing a balanced and restrained use of natural resources. He protested relentlessly against the construction of highways and billboards. In addition to these, he fought against the government’s apparent shortsightedness and slander in regards to environmental conservation efforts. Often, Adams was criticized for portray-

Leaves Owens Valley, 1943

â&#x20AC;&#x153; his photographs became

the symbols, the veritable icons, of wild america.

â&#x20AC;&#x153;

ing an “idealized wilderness that no longer exists.” However, it is because of Adams and his unyielding conservation efforts that these vast areas of land have been preserved for generations to come. While Ansel Adams and his photographs are revered for their use towards his conservation efforts, Adams is also highly praised as a leading innovator in the technological realm of photography. Over the years, he developed and perfected a mathematical approach to capturing the ideal landscape photograph, known as the Zone System. This method worked by determining the proper exposure and adjusting the contrast of the final image to produce a print of full

clarity and depth. Adams possessed the gift of being able to pre-visualize his desired outcome before taking the picture. This ability to pre-visualize photographs, paired with his implementation of the Zone System in the darkroom, allowed him to divide the light of a scene into various zones, separating black from white, producing gray tones, and creating a dynamic, tonal image. Adams held an extensive understanding of his camera, darkroom techniques, and the use of transient lighting; he whole-heartedly believed that “an immaculate technique was essential to the clarity…demanded in photographs.” It is this belief that led to his abilities to produce a vast collection of legendary images throughout

his lifetime. One such example is Monolith, the Face of Half Dome. As one of his more famous images, this photograph accurately represents the massive awe and respect Adams possessed for nature. His Monolith, the Face of Half Dome, projects a sense of natural magnificence and artistry; the photograph is in perfect balance and harmony. The use of texture and contrast display a masterful attention to detail. Adams carefully explored and highlighted each feature in the mountain range, as if to simply communicate that every single facet on the cliff is just as important and beautiful as the whole. For Adams, â&#x20AC;&#x153;the full range of tones from white to black was needed to represent subject matter objective-

lyâ&#x20AC;? which is what makes this image so strong. In the early 1930s, Ansel Adams, along with several other emerging photographers of the time, such as Edward Weston and Imogen Cunningham, co-founded a contemporary photographic organization called Group f/64. The name was chosen because it refers to the aperture setting that captures a photograph with the highest depth of field and clarity. With the use of large format cameras, Group f/64 was able to produce photographs with a high degree of technical skill; each image shot of the American West was pin-sharp. As a whole, the group was dedicated to producing photographs in an attempt to depict America as a frontier of beauty and hope, rather than

Dunes Oceano, 1963

“ he was not merely a

photographer, he was a communicator.

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“ as a bleak and oppressive society, which is what was largely depicted in the works of other photographers of the time. One such photographer, Henri Cartier-Bresson, believed that artistic works should be socially significant. He proclaimed, “The world is going to pieces and people like Adams and Weston are photographing rocks!” As a response to this criticism, on behalf of himself and Adams, Weston stated, “It seems so utterly naïve that landscape—not that of the pictorial school— is not considered of ‘social significance’ when it has a far more important bearing on the human race…” Many critics believed that Adams’s work was naïve and idealistic, however his work served a larger purpose: preserving the environment in which humanity lives. As opposed to showcasing deteriorating and tarnished settings, Adams desired to encourage environmental preservation by exhibiting to the viewer, through clear-cut photographs, the beauty of how the earth should look. In his efforts to capture and preserve beauty, the technical accomplishments and work composed

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by Ansel Adams is an extraordinary phenomenon that is unparalleled by any other photographer.

Forest, Early Morning Mount Rainier National Park, Washington , 1949

In one-way or another, Ansel Adams shaped our view of what wilderness is and how it looks. Endlessly travelling the country in pursuit of the natural beauty he so revered, Adams effortlessly and wonderfully captured an array of transcendental photographs of America’s natural treasures, which are still cherished to this day. However, it is important to note that Adams was not merely a photographer – he was a communicator. While his photographs project a complex blend of aesthetic idealism, Adams’s work did not showcase beauty simply for the sake of beauty. The images of Adams carried and promoted radical political engagement. He used his photography for a bigger purpose: to fight for the protection of the grand landscapes of which he so fondly called home. Even after his death, the torch Ansel Adams carried in his fight for environmental conservation still burns brightly.