Influences Ansel Adams Revisited

In my earlier post,  Ansel Adams post one , I gave my initial initial impressions of Adams work. I have subsequently continued to review his photographs. I have also recently obtained two books which make comments on his work and place it within the context of the landscape genre. These are American Landscapes Photographs from the Collection of the Museum of Modern Art and Ansel Adams at 100. Both books are by John Szarkowski the renowned Director of Photography at MOMA in New York and were the accompanying books for Exhibitions.

American Lanscapes Photographs from the Collection of the Museum of Modern Art traces the history of American Landscape photography from its beginning until the 1970s through the museums own collection. It allowed me to consider where Adams sits in the broader context of American Landscape photography.

The early pioneers were the likes of Timothy O'Sullivan who had made his name as a documentary photographer of the American Civil War. O'Sullivan was hired to take photographs as part of a scientific expedition. However there is evidence that O'Sullivan had made aesthetic judgements vis a vis the framing of his subjects and so his work might now be viewed as not simply scientific in nature.

These early pioneers were followed by the likes of Muybridge and Carleton Watkins operated less as explorers and more as 'laureate(s) memorialising known wonders', devising creative strategies for depicting well known motifs in a fresh manner.

Thereafter followed great photographers such as the young Edward Steichen working in a Pictorialist mode, seeking to emulate the art of painting, with inviting subjects, soft focus and movement.

The Pictorialist ethic was roundly rejected by Modernists such as Edward Weston, although Weston himself was intimidated by the chaotic nature of nature. Starting with intimate landscapes Weston, Strand and others gradually tackled the wider landscape from the standpoint of formal integrity which represents the Modernist approach. They emphasised process and form above subject.

Whilst a Modernist, emphasising the perfection of the process - perhaps more than any other photographer - Ansel Adams has his own unique style. His greatest works visualise the landscape as an Event - a temporary piece of theatre created by the majesty of the scene, the light and the weather. Here is an Adams photograph from the exhibition:

Oak Tree Snow Storm, Yosemite 1948 by Ansel Adams

I chose this image because I am sitting in my study writing this post with snow all around our house. I have been outside taking some shots of snow covered trees also. It is interesting to see that Adams has retained a range of tonal values within the snow, giving it shape and texture. I have included one of my own images below to compare.

Snow covered Tree, Burnham by Keith Greenough

The tonal range of the highlights in my image is much more compressed. It is also clear that the tree itself if much less attractive - no leaves, less elegant, less symmetrical. My image also has less background interest.  The difference in tonal range is clearly seen when the histograms for the two images are compared...

Adams

Greenough

I have much still to learn.

The second book I have reviewed is Ansel Adams at 100. This is another catalogue from an Exhibition curated by John Szarkowski. This time the exhibition was staged by the San Francisco Museum of Modern art - an organisation which Adams had much involvement with. The book provides an interesting essay which traces Adams development as a photographer.

It was interesting to hear Szarkowski's view that Adams work varied from the superlative to the mediocre. He was particularly disparaging about Adams work outside of the landscape genre.

As a 'straight' photographer Adams work depended on both shape and texture. Interestingly it was Szarkowski's view that Adams work moved from being described very much in graphic terms in the mid thirties to becoming increasingly dependent on perfection of the tonal range some ten years later. He suggested that this might become abundantly clear if one were to take an earlier and later image and compare them when they are reduced to postage stamp size. The former whilst damaged would still be intelligible the latter most likely would be unintelligible. I thought I would try this as an experiment. The two photographs are:

Mount Robson, Jasper National Park
Canada, 1928 by Ansel Adams

Cleaing Winter Storm, Yosemite Valley, 1942 by Ansel Adams

Here are the two images as postage stamps...

I think this proves the point which from my own perspective shows how important the management of tone is in creating an atmospheric image. Graphic designs is important in composition but light and tone can create more subtle and emotive image. As is waiting for the moment of theatre which will lead to the exceptional image.

I will wind up this with another of my favourite Adams images, Lake and Cliffs Sierra Nevada 1932. This is a very graphic image - perhaps reflecting a personal bias. I selected this image because it is intriguing. It is hard to make out what it is. I love the variation in tone and texture which are fantastic and the way he has captured the reflections in the still water of the lake. It  has a very flat perspective which adds to the abstract nature and its appeal. It is wonderful to realise that nature can offer such glorious scenes of abstract design.

Lake and Cliffs, Sierra Nevada 1932 by Ansel Adams