Why I admire Ansel Adams
In 1997 I was given my first SLR camera, a Minolta XG-M 35mm with a 50mm lens and a camera bag. At the time, my mother was getting Outdoor Photographer magazine with a subscription and I would pour over the pages when it arrived at our stoop. I was realizing little by little that photography could be an outlet for creative expression and as a result of this I was beginning to develop opinions of professional photographers, based on the emotions I experienced when viewing their work. I have always believed that you could tell a good deal of a person by simply observing that which gives them the greatest pleasure. Private lives aside, the greatest measure of a photographer is the craft over which they labor and toil and so greatly enjoy.
My first mentor of the photographic mind was Galen Avery Rowell. As a columnist for OP (the least among his awesome accomplishments which include Everest, K2, Fitz Roy and National Geographic) he was a photographic influence to which I was exposed (no pun intended) early and often. It’s easy to be impressed by a technically perfect image made by an individual who was precariously perched on a half-inch crack, suspended as if in midair by chalky fingertips, shoe leather and sheer willpower halfway up a 4,000 foot sheer granite face with only a single belay line staving off certain death from a precipitous plunge. A quote comes to mind. ‘The best reason to climb a mountain is because it’s there.’ The only reason to brilliantly capture such fleeting Zen-like moments while in the midst of such arduous pursuits is an appreciation for life and being at one with your surroundings. (However, a smattering of insanity must be accounted for as well.)
As I learned more and my photographic horizons began to expand I came to notice the works of other photographers and some of those came to the foreground of my awareness, including Edward Weston, Dewitt Jones, Alfred Stieglitz, William Neill and Henri Cartier-Bresson. But I have not been moved, touched or challenged so much by any other as I have been by the legacy of Ansel Adams. That master of the Sierra (not Sierras, AA would roll in his grave at that insult), that King of the Yosemite, with his broken nose, cowboy hat and modified Woody wagon. When I first saw a copy of his print ‘Winter Storm’ I was knocked over by the detail and emotion that played out before me. But it was not until after delving into Adams’ literature that I realized that the masterpiece before me was more than just placement of the camera and composition before the click of the shutter. It was also his knowledge of his subject, his mastery over light, his meticulous attention to detail in the darkroom, his visionary seeing that brought about his beautiful work of art. I had in my possession an example of true perfection.
After reading his books, his autobiography, his articles and anything I could find that revealed a portion of the mind of this great photographer I find that not only can I learn from him but that as a photographer and as a man I relate to him. Though passed from this world some twenty-three years ago his body of work, both photography and literature, continue to move, challenge and inspire me. I had never had the privilege to meet this legend, but through his legacy to photography I know him: his aspirations, his frustrations, his despair and his joy.
However, through the further expansion of my photographic horizons I get the feeling that the name of Ansel Adams is a sort of dirty word among many of the new breed of photographers today. I continually find the need to defend my admiration of Adams and his work. It is as if others have the viewpoint that to admit to being a follower of Adams’ techniques and an admirer of his life’s labor amounts to no better than dropping a name to impress others with your choice of association. And with the advent of digital technology and the attempt to put an automatic camera into every hand in the world, the pervading opinion seems to be that Adams is an outmoded, archaic, prehistoric savant who’s contributions to our craft have passed their time and are now, somehow, unnecessary and superfluous. ‘Why take the time to learn what I can now just go out and do anyway?’ I know that digital photography is the next and logical step up from film photography. It enables the masses to bypass the developing and printing processes of yore in favor of near instant gratification. It’s what the people crave and I cannot fault them for that. After all, it holds appeal for me as well. But when people sacrifice knowledge and persistence for convenience and simplicity, something invariably suffers. In my humble opinion this is where photography is right now. As for me, I cannot turn my back on a thing that I love, that is such a part of me. I find peace in manually calculating exposure with an off-camera meter. I love anticipating the right moment rather than always bracketing and praying for rain. I love getting an exposure right at the camera and making adjustments later rather than making the changes because I could not get it right the first time.
I am a disciple of Ansel Easton Adams because he challenges me. Not to mimic his images but to find my own vision. Because he inspires me to be prepared, to not trip the shutter until I have exhausted all of the controls at my command to make the best exposure I can and not to fly be the seat of my pants. Because in him I find a fellow photographer and intellect, a kindred spirit, not an idol to be worshipped and imitated. Bacuase I strive to mirror his hard work and dedication, not his classic view of the Grand Tetons behind the Snake River. Because I share his need to pass on any and all knowledge that I may have that can help another fellow photographer to get it and I am willing to try new things and ways that had not previously occurred to me. Because I share his ethic and diligence. Beacuse I strive to be my own photographer, using him as a springboard and guide, not as an identity to don when it suits me. His legacy is not a goal for what to become, but rather a benchmark of what is possible.
So when I say I like Ansel Adams it’s not hero worship. It is respect and an affirmation of that which the greatest photographer of the twentieth century stands for and means to me in terms of self-education, preparedness and vision in my chosen craft.
Christopher A. Walrath
November 9th, 2007
Last edited by Christopher Walrath; 11-13-2007 at 07:44 PM. Click to view previous post history.
I know the feeling, Jade. I'm working on my wife. Hey, at least she didn't root for Michigan last weekend. Thanks.
AA is the God of Photography!!! In todays fast food-close is good enuff-video game instant gratification society some people will never grasp the concept that good results take work and knowledge.
I admire AA because he had something to say, and he said it through wonderful photographs.
Ansel was a highly talented photographer and a great educator. He is not a god. Calling him a god is to freeze photography in that mid-century modernist moment, a bit like deifying JMW Turner and declaring all landscape painting since is merely derivative.
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As an amatuer, AA's 3 volume photography series has taught me virtually everything that I understand about the subject. What I appreciate the most is his fluency in the science of photgraphy and how that correlates to realizing the initial visualization in the final print. Buried somewhere in the first volume he wrote, “I believe there is nothing more disturbing than a sharp image of a fuzzy concept” - I love that.
"I know that digital photography is the next and logical step up from film photography."
It is very debatable that digital photography, on the average, is a "step up" for anybody but the marketing and retailing establishment.
"get yer magic bullets here!!"
Sorry, J. I mispoke myself. I was thinking linearly such as photography might be the next step up from painting. Definitely not a plug for digital. Not here, anyway. Thanks for the comments and the reads, all.
Thanks for clarifying that, Chris. For the record, I am an unashamed, unabashed, Ansel Adams fan as well.
Originally Posted by flash19901
I admire AA for many reasons. But right now, most of all, because on a tiny little corridor in Dad's Diner in Copake (a Diner that is otherwise a monument to 1950's hot rods) - the very corridor that leads to the restrooms there is a framed AA picture of a maple tree in winter.
Given the rest of the Diner's "theme" (including the wallpaper in the Men's Room that features pics of Mustangs*, "bug-eyed" Corvettes, 1957 BellAires) the presence of a framed AA shot suggests that he too has become an American icon!
Gotta love it. I get to see AA and hot rods when I go to take a pee!
* Yes, I know Mustangs are 1964-1/2 or later - but tell that to the wallpaper guy!
"He was a great photographer and (by most accounts) a nice person too. But there is a distinction between AA and some of his followers, just as there is a distinction between Christ and some Christians (the sort who burned witches, for example)."
Very well said..