In a message dated 6/30/02 12:18:58 AM Eastern Daylight Time,
jamesbcouch@xxxxxxxxxxxxx writes:
> Adams was one of the first
> influential photographers to reject the concept of 'straight photography.'
> Many
> photographic historians, in fact, credit AA as the person who "elevated mere
> photography to a true art like painting or sculpting."
I'll agree with the second sentence, but the first sentence, I believe,
misuses the term "straight photography" and Adams' relationship to it. He
is, in fact, nearly synonymous with the aesthetic movement known as straight
photography, and was instrumental in the elevation of straight photography as
a true art form.
Historically, "straight photography" refers to an aesthetic movement of early
twentieth century photographers - Adams among them - to move beyond the
work of pictorialists who strove to force photography to emulate the surface
textures of pictures made by other media, to the presentation of "photographs
as photographs," absent of "brush marks and lines... not natural to
photography... used for nothing else but to produce blurred effects." (see
Beaumont Newhall, "A History of Photography" (1994) pg. 167). Champions and
early pioneers of the straight photography aesthetic were Alfred Stiegletz
and Paul Strand - Adams' early mentors.
Adams, in his photography, writing, and teaching "brilliantly demonstrated
the capability of straight photography as a medium of expression." (see
Ansel Adams, "A Personal Credo," American Annual of Photography for 1944,
vol. 58, (1943) pp. 7-16. In fact, in 1932 Adams, along with a number of
other photographic pioneers and advocates of straight photography, such as
Edward Weston, Imogen Cunningham, and John Edwards, among others, formed the
influential society they called "Group f/64" -- referring as you know to the
aperture that secures maximum depth of field. Their aesthetic of straight
photography: any photograph not sharply focused in every detail, not printed
by contact on glossy black and white paper, not mounted on a white card, and
betraying any handwork or avoidance of reality in choice of subject was
'impure'" (see Beaumont Newhall, "A History of Photography" (1994) pg. 192).
That said, it appears straight photography does allow for the dodging,
burning, and manipulations in exposure and development intrinsic to Adams'
work. Among the first to call for and define "straight photography," art
critic Sadakichi Hartmann in 1904 wrote "I do not object to retouching,
dodging, or accentuation as long as they do not interfere with the natural
qualities of photographic technique." (see Newhall, pg 167).
Hope this helps,
Greg Logiodice
www.gplphotography.com
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