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Re: [OM] ( OM ) Photographic manipulation & Ansel Adams

Subject: Re: [OM] ( OM ) Photographic manipulation & Ansel Adams
From: Jim Couch <jamesbcouch@xxxxxxxxxxxxx>
Date: Sun, 30 Jun 2002 11:23:49 -0700
You are correct, my wording here was poor. I was referring to those who
believed in not using filters, or darkroom manipulation, that the print
should be "straight" from the original negative without manipulation in
processing or printing. Thank you for the clarification. I have probably
confused a number of people here.

Jim Couch

GPaul64@xxxxxxx wrote:

> 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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