Abstract

In this study we try to explore the concept of Ansel Adams in a holistic context. The main focus of the research is on Ansel Adams and its relation with his photography, not excluding his biography. The research also analyzes an in depth analysis of his work and tries to gauge its effect on other photographers of his period.

Ansel Adams

Biography

Ansel Adams (1902 - 1984) was an American photographer. He is known for his landscapes of the American West and is considered a forerunner to many subsequent photographers. Ansel Adams had the natural and prescribed specifically to landscape photography. He studied photography and produced his first recordings in the then usual Pictorialist style. In 1930 he met Paul the beach, which was his conception of "pure" photography has a strong influence on him. In 1932 he founded together with Imogen Cunningham, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Edward Weston and the f/64 group, which began quite dogmatic for a photograph which was marked by the greatest possible depth and maximum detail. (Read, Pp 65) In 1940 he was involved in the development of the photographic department of the Museum of Modern Art, New York, in 1946 the construction of the photographic department of the California School of Fine Arts.

In Depth Critical Analysis Of The Photographers Work

It is well known for his photographs in black and white landscapes of national parks and Americans as the author of numerous books on photography, including the trilogy of technical manuals, The Camera, The Negative and The Print(see Fig 1 in appendix). He was among the founders of the Group f/64 with other masters like Edward Weston , Willard Van Dyke , and Imogen Cunningham. One evening in 1932, Ansel Adams and photographers Imogen Cunningham, John Paul Edwards, met Sonya Noskowiak , Henry Swift, and Edward Weston at the photographer, filmmaker and Berkeley students Willard Van Dyke , to catch up on the idea of " straight photography "of" pure photography "to share. Although the work of the participants were very different part, they agreed to pursue a common goal and define a new way of creative photography, which should be clearly distinguishable from the traditional Pictorialism. At another meeting we discussed a name for the group. The present young photographer Preston Holder, a fellow student of Willard Van Dyke, suggested "U.S. 256", the old system name for the very small aperture 64, the great depth of meaning. But because the confusion was natural with a U.S. highway, they agreed on " f/64 ", according to the new name for US256. (Alinder, Pp 110)

"Group f/64" should be the slogan for a direct, straight photography as an autonomous art form and not be an imitation of another art form. The members took their aim so as soon as possible in a "visual manifesto" designed to explain and an exhibition. The established gallery owners were initially unenthusiastic, and the local art scene of San Francisco responded rather negatively to the idea that photography should ...