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
Thank you, Greg. So nice to see your intelligence back on the list.
--
Winsor Crosby
Long Beach, California
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