Scientist photographed soul leaving the body in death 2nd part

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WTF is SOPA ? aka The American Government trying to ruin the internet

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Fotoshop by Adobé (Adobe)

The Hidden World of Vivian Maier

Vivian Maier slideshow in HD

HDR Photojournalism?

Susan Brannon
15 January 2012

To my great sadness, I want to point out that The Washington Post printed a photograph on the front page that was in HDR format. This is clearly altering an image by combining several images into one. It is done to create a "sharper" and greater photographic moment than the reality of the subject. Many Landscape photographers use this technique and as a result there are many beautiful landscape images out there, but they are not real. For me, the HDR image looks a bit "surreal".

However, in photojournalism to alter an image is a great "phoo-pah" and the publishing of such an image on the front page of a newspaper (any newspaper) is like a slap in the face to me. Do the editors laugh at us while they make decisions to print such an image? They did say that the image was "composite". I am a true bread photojournalist who first shot with slides and mailed them in, then film and went to the press office, then in digital that I had to spend tons of my precious earnings on new equipment and continue to do so, in order to make the "news" in "real time".

This is a slap in our ethical code that I proudly stand by, of not altering any image for the news. Not a beep, not a color, no clipping, no cropping, and in RAW. That is the true art of a good photojournalist, to tell the story as it is, to reflect the reality and to record history as it happens.

For me, this is a sad day. Please read more about the image here: Poynter Institute

Beautiful Video of the Elderly

The Light of Day by Simon Biswas from FlakPhoto.com on Vimeo.

Dorothea Langue: A Bio

Susan Brannon

27 November 2011

Dorothea Langue: Documentary Photography or Photojournalism?

“One should really use the camera as though tomorrow you'd be stricken blind.”

“Pick a theme and work it to exhaustion... the subject must be something you truly love or truly hate.”

Dorothea Langue

Dorothea Langue is known for her work during the great depression era while working for the Farm Security.  She was a documentary and photojournalist photographer.  She was born on May 26, 1895 and dies October 11, 1965.  She studied photography at Columbia University and apprenticed in several New York photography studios, later she moved to San Francisco and opened a portrait studio.  During the depression, she went from her studio and watching the people in the street below her, to photographing the people in the street photographing the unemployed and homeless, “combing those who paid and those who did not”.  Later, she toured the field with her husband who was gathering economic data for the government. 

Many of the images she took became public domain because of her work for the Farm Security.  Some of her images were “off hours” and became copyrighted to her name.  Her images were to bolster support for the establishment of migrant camps.  

Dorothea used a 4 x 5 Graflex D camera for most of her shots. She felt that the camera, “Teaches people how to see without a camera” Langue worked a lot by using her instincts, “to find out later how right your instincts were, if you followed all the influences that were brought to bear on you while you were working in a region.…It did happen more than once that we unearthed and discovered what had been either neglected, or not known, in various parts of the country, things that no one else seemed to have observed in particular, yet things that were too important not to make a point of.”

In the 1940’s she documented the forced relocation of Japanese Americans to internment camps.  In the 1950’s and 1960’s she produced photographic essays on Ireland, Asia, Egypt and the post-war boom in California. 

Dorothea Langue interacted with her subjects, in order to capture a realistic, honest and truthful image.  Langue was a patient photographer, sticking around, talking to the people, asking them questions, “where are you from?” remaining there, and sitting on the ground with them.  She listened to the people that she photographed and tried to remember what they said so later when she went to her car, she could write down what they said.  She would use their quotes with the images captions, she liked “using the words that came directly from the people’s mouths”.  By the end of 1939 she had set the standard for photography captions.

While she was working for the government, they wanted images of a certain type, framing the subject to tell the story, while in the darkroom removing the “negatives” like brushing away a thumb, lightening some areas, darkening others and moving a cow skull to show evidence of a drought. 

Dorothea Langue had a somewhat mystical approach to the problem of authenticity. She believed that through her camera she could see into the psyches of her subjects, and that by penetrating beneath a surface she could get at a truth that was deeper, more truthful, than were facts available at first glance. Taken literally, her notion that she had a kind of X- ray vision seems to absurd, but is a way of saying something about the role of documentary photography.

The debate about authenticity and objectivity may never be solved. It continues today whether the subject is literature or history or journalism or photography. Unfortunately today many people continue to worry more about whether a photographer has asked a subject to take off his hat or look toward her child than about whether the photographer’s interpretation illuminates truths heretofore hidden. Some of this concern comes from a confusion of documentary photography with photojournalism, some from increased public awareness of how easily and undetectably images can be altered.

We need to get straight what documentary photography has been and is: overwhelmingly often an art form inspired by concern for social justice and eagerness to participate in social change. It aims to see and show beneath the common-sense assumptions that so often prevent us from seeing the actual relationships that create both human and ecological erosion.

Related Articles:
Comparative Essay: The Great Depression/The Current Crisis
Ansel Adams:  How Did He Do It?
Ansel Adams:  Georgia O'Keeffe and Orville Cox
Documentary Photography: Lesson 1
Documentary Photography: Lesson 2 Altering Images, How Far Can We Go?
Photojournalism Visual Lies
Street Photography Tips
What is the Difference Between Street Photography and Documentary Photography?
Ethics and Credibility

Scheimpflug theory

Susan Brannon
21 August 2011
You read in my previous article on Ansel Adams, that one of the two techniques he used was the Scheimpflug theory.  I will try to make this theory as simple as possible.

The Scheimpflug principle is a geometric rule that describes the orientation of the plane of focus of an optical system (such as a camera) when the lens plane is not parallel to the image plane.

Normally, the lens and image (film or sensor) planes of a camera are parallel, and the plane of focus (PoF) is parallel to the lens and image planes. If a planar subject (such as the side of a building) is also parallel to the image plane, it can coincide with the PoF, and the entire subject can be rendered sharply. If the subject plane is not parallel to the image plane, it will be in focus only along a line where it intersects the PoF. As in the image below.

With a normal camera, when the subject is not parallel to the image plane, only a small region is in focus.Image from Wikipedia.

 When an oblique tangent is extended from the image plane, and another is extended from the lens plane, they meet at a line through which the PoF also passes.

Rotation of the plane of focus

With this condition, a planar subject that is not parallel to the image plane can be completely in focus.

When the lens and image planes are not parallel, adjusting focus[1] rotates the PoF rather than displacing it along the lens axis. The axis of rotation is the intersection of the lens’s front focal plane and a plane through the center of the lens parallel to the image plane, as shown in Figure 3. As the image plane is moved from IP1 to IP2, the PoF rotates about the axis G from position PoF1 to position PoF2; the “Scheimpflug line” moves from position S1 to position S2. The axis of rotation has been given many different names: “counter axis” (Scheimpflug 1904), “hinge line” (Merklinger 1996), and “pivot point” (Wheeler).

There are a lot more of mathematical equations to this principle, too difficult for me to understand, which means, if I cannot understand the mathematics of the principle, how can I try to explain the equations to you?


The bottom line? 
A)   When the lens and the image planes are parallel, the depth of field extends between parallel planes on either side of the plane of focus.
B)   When the lens plane is not parallel to the image plane, the blur spots are ellipses rather than circles. 
So if the planes are not parallel, then you will get blur spots down the horizon.  This is the concept that Ansel Adams understood, that therefore he tilted his lens down, to parallel the image planes.  You can buy tilting lens for this occasion, or use your tripod.

To get into this further here are some great links: Checklist for view cameras, by Howard Bond
How to Focus the View Camera by, Q. Tuan Loung
 These articles are for large format photography.
 Here is a nice page titled the Scheimflug Principle photo stream

Okay, so normally this principle is for large format cameras. What about Digital?
Good news!  You can purchase a tilt lens for your digital camera.

This is what Nikon says, "Tilt/shift photography (specifically tilt/shift miniature faking) is a technique for making regular scenes look like miniatures. By artificially making the depth of field of a picture extremely shallow using a special lens, you can duplicate the effect of a macro lens, making the scene seem much smaller than it actually is, resulting in a really cool effect. You can also use the adjustable distortion to draw attention to specific parts of a picture, which is compelling for portrait photography." 
Here is a great example of the differences:

For a lesson on how to focus your tilt lens see this article.

Basic Information taken from Wikipedia

Ansel Adams: How did he do it?

Susan Brannon
19 August 2011

Ansel Adams - Joshua Tree 1942 - © 2009 The Ansel Adams Publishing Rights Trust

Ansel Adams;  How did he do it?

Ansel Adams is known for his beautiful black and white nature images and for developing photography techniques in the development process of the images. 

His first camera was a Kodak No.1 Box Brownie. This camera was first rollfilm camera bearing the new brand name "Kodak", patented and introduced in 1888. It used Eastman stripping negative film. The Kodak No. 1 of 1889 resembled the Kodak, but featured a more sophisticated shutter.

I must mention however, that a good images does not come from the equipment and all the gadgets, it comes from inspiration.  Photography is an art, and your images must come from within.  Adams said, "The single most important component of a camera is the twelve inches behind it."

It is the camera that catches your imagination.  If you do not use your imagination, you will wind up with just another photograph.  Where does the word image come from?  It comes from the word "imagination". Not from lens, noise levels, sharpness, color balance.  Ansel Adams did not have PhotoShop to play around with.

Ansel Adams, went into the wilderness for months at a time.  He became inspired by what was around him.  He wanted to reflect his inspiration through his images and use his creativity.  He felt blogged down by all the commercial photography he felt forced to do for survivals sake. 

Adams made sharp images seventy years ago without worrying about how sharp his lenses were.  The lenses of the 1930's were much slower than they are today, about f/5.6.  The equipment you use, only helps to get the job done faster and easier.

What did Adams do?  He was eighteen years old taking a long trip into the wildreness, with a donkey, 100 pounds of gear and food, and a 30 pound sack of photographic equipment.  He lugged tri-pods, camera's, and portable darkrooms.

In 1915, he used his Box Brownie
In 1916 he used a Pocket Kodak and a 4x5 view
He used a Zeiss Millifles
a 6-1/2 x 8 1/2 glass plate camera
4 x 5 camera
Hassleblands
35mm (he called miniture)
Polaroid

Adams said, "If we had very heavy cameras we simply didn't go so far or take so many pictures. Knowing what I know now, any photographer worth his salt could make some beautiful things with pinhole cameras."

He like using a large format camera 8x10.  His favorite medium format camera was a 6x6.  For the last 20 years of his life, he used a Hasselblad medium format, which he created the famous "Mood and Half Dome" image.

In his portrait image, he is holding a Hasselblad 500 C/M

Ansel Adams - Saguaro Cactus, Sunrise, Arizona 1946

Other than being inspired an having large or medium format camera's what did he do?
Adams liked to control the depth of field, by adjusting the film plane and the lens, with the relationships of objects in the frame, with tilt and rise and fall movements.  Doing these things, he was able to alter the perspective to what he desired, controlling rise movements or increasing depth of field by making the lens standard tilt down.

Adams tilted the lens standard of his view camera in order to extend his depth of field, close to infinity.  1) by stopping his view camera down as far as he could and 2) using the camera's movements to take advantage of the Scheimpflug theory. (shift horizontally to make perfect parallel lines)

Typical digital lenses cannot achieve the same perspective as a view camera because of the physics involved.  When the film plan and the lens plane are rigid, we can have a measure of control over the depth of field and perspective, but we are limited.

You can tilt the camera, with a regular lens on it and the parallel lines converge.  Threes and other elements in the frame can look like they are falling backward.  This is the rise and fall movements.

You can purchase tilt lenses, but you will need to use your camera on total manual.  Forget the auto focus and sensors.  The tilting, stretches out the depth of field so you can frame easier without distortion.

Adams developed all his own film, using a small space in his parents home, and while in the field.  He first used matte and changed to glossy paper to increase the tonal values.  He spoke often about using the natural light and small apertures with long exposures.  Adams also suggested to "visualize" each image before taking it.  This means, taking your time, walking around looking at things from different points of view.

Adams, was a promoter of "pure photography" "Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form.' Soft focus lenses were prohibited, but in Adams earlier work of the Monolith, he used a strong red filter to create a black sky.  Adams mounted a camera platform on the top of his station wagon, to get a better vantage point over the immediate foreground and a better angle for expansive backgrounds.  Most of his images from 1943 forward were made from the roof of his car.

Adams developed the "zone System" of controlling and relating exposure and development, enabling photographers to creatively visualize an image and produce a photograph that matched and expressed that visualization.

Ansel Adams Technical Books:
    * Making a Photograph, 1935.
    * Camera and Lens: The Creative Approach, 1948. ISBN 0-8212-0716-4
    * The Negative: Exposure and Development, 1948. ISBN 0-8212-0717-2
    * The Print: Contact Printing and Enlarging, 1950. ISBN 0-8212-0718-0
    * Natural Light Photography, 1952. ISBN 0-8212-0719-9
    * Artificial Light Photography, 1956. ISBN 0-8212-0720-2
    * Examples: The Making of 40 Photographs, 1983. ISBN 0-8212-1750-X
    * The Camera, 1995. ISBN 0-8212-2184-1
    * The Negative, 1995. ISBN 0-8212-2186-8
    * The Print, 1995. ISBN 0-8212-2187-6 (Wikipedia)

Kodak No.1 Box Brownie

Kodak No.1 Box Brownie

Susan Brannon
18 August 2011
The Kodak No.1 Box Brownie was Ansel Adams first camera.
This camera was first rollfilm camera bearing the new brand name "Kodak", patented and introduced in 1888. It used Eastman stripping negative film. The Kodak No. 1 of 1889 resembled the Kodak, but featured a more sophisticated shutter.  It was discontinued in 1916.

The cost? $1!

In use, the shutter was set by pulling a string; the camera was sighted by looking along a V-shape on the top of the camera. The shutter was tripped by pressing a button on the camera's side. After exposure, the key was used to wind the film to the next frame. The film moved past a shaft, rotating it, which caused a pointer visible on the top of the camera to rotate, so the photographer could be sure of advancing the correct amount of film.

Once one hundred pictures had been taken, the user sent the whole camera back to Kodak for film processing and reloading - at a cost of $10[1]. A hundred round negatives with a diameter of 65mm came from each roll of Eastman American Film. The round image was a design decision, partly as a way of ensuring that the photographer didn't have to hold the camera exactly level with the horizon, and partly to compensate for the poor image quality at the corners of the image. These first Kodak cameras were designed by George Eastman in collaboration with a cabinetmaker, Frank A. Brownell, who set up the production line at Eastman's factory. They are beautifully built, with box joints and strong leather covering.
Of course, those were the days when a photographer had to carry all kinds of equipment along with him and develop his own film.  I still like the medium format images the best for landscape, portraits and documentary photography.  I still like to develop my own film and yes, I have used the dodge technique that Adam's designed.  They sure do help the clouds come out fabulous!
Just for fun, I decided to look and see if I can find one of these boxes and how much are they now?
Well, I found one on E-Bay for 33 dollars, the person said that it was in "mint condition"
that was the only one that I found.  Here you can find the history and development of the Kodak cameras.
If you find one of these camera's at a garage sale, look to make sure that it does not leak light. The No.1 uses 620 film which may be hard to get, but if you go to a professional camera store they can find it for you.  You may be able to find the film online.  The images are soft with a nostalgic feel to it! They will not look like digital images.  Here is a link on how to use a Brownie Box!  Where to get manuals and more the brownie website.

Ansel Adams: Georgia O'Keeffe and Orville Cox

Ansel Adams - Georgia O'Keeffe and Orville Cox

Susan Brannon
17 August 2011
Georgia O'Keeffe and Orville Cox- Canyon de Chelly National Monument, 1937 It was unusual in Adam's photography to include human beings in his images.  When he did portraits, I feel that they were exquisite as reflected in this image of Georgia O'Keefe and Orville Cox.  I must say that I really like this image, and it is one of my favorites.  I adore the expression on Georgia O'Keeffe's face! The sky and clouds are high above their heads, their expressions are detailed and the lighting spectacular. 
 The story behind the image:
Orville Cox was the wrangler at Ghost Range and the guide on a several week trip taken by O'Keefe, Adams and others.  One interesting point of the photo is that it was taken with a 35 mm camera.

In September, 1937, David Hunter McAlpin organized a month-long camping trip throughout the Southwest with his friends Georgia O'Keeffe and photographer Ansel Adams. The result of this camping trip, a unique and rare set of photographic proofs made by Adams and later given to his friend McAlpin.

The group included McAlpin's cousins, Godfrey and Helen Rockefeller, and Ghost Ranch head wrangler Orville Cox, who would be an interpreter and guide. Adams brought three cameras, two view cameras and a 35mm Contax. O'Keeffe filled a station wagon with painting supplies. The group was delayed for two weeks in Abiquiu, at the Ghost Ranch while O'Keeffe finished some work. Then they hit the road.

"Everyone knows the classic Adams photos of highly shadowed desert landscapes. O'Keeffe's fascination with the light, landforms, and artifacts of the Southwest is also noted," says Curator of the Exhibition Stephen Jareckie. "These proofs show that landscape - stark, isolated, magnificent - just as these two artists saw it. For us to see these pictures, the majority of which have never been exhibited before, is to glimpse a place that was crucial and inspirational to two major American artists."

"What's important about these photographs is both documentary and artistic. These are real Adams pictures. Though they're casual, and were clearly done on the spot, they still retain Adams's customary pictorial structure," says Jareckie. "But these aren't just landscape pictures. There are also numerous snapshots of the camping group, which include revealing portraits of Georgia O'Keeffe that have not been published."  

After the death of Sarah Sage McAlpin in 2001 her heirs discovered a box containing nearly 300 small-format prints of photographs by Ansel Adams taken on this trip. Some of the images were probably as close as Adams came to taking "snapshots," but those displayed here are carefully prepared "proofs." In a number of cases Adams went on to make larger-format photographs of the same or slightly-altered views. The Ansel Adams Foundation has contact-sheets and negatives for many, if not all of these images, but in most cases these smaller images appear to be the only prints of these photos ever made by Adams himself.

Ansel Adams: Thunderstorm Espanola Valley

Ansel Adams - Thunderstorm Espanola Valley © The Ansel Adams Publishing Rights Trust

This images cannot be printed or reproduced in any way. The use of the photograph is limited to viewing in the context of this web site.

Susan Brannon

15 August 2011

Thunderstorm, Espanola  Valley, 1961 - I could not find much information on this image, but for me, being a New Mexican, this image shows the intensity of the storms.  Form this location, you can see the storm coming from miles away because of the vast horizon in New Mexico, and the big sky that looms over head.  The light in this image is wonderful because you can see the suns reflections on the clouds and a bit of light falling on the hill.  This is one of his later images, and by then he had hiked around New Mexico since the 1940's.

In 1941 the Secretary of the Interior, Harold Ickes, hired Adams to photograph lands and Native Americans under his department's jurisdiction. Adams intended to make some thirty-six photographic murals to hang on the walls of the Department of the Interior. He hoped that his powerful images hung in an emotionally progressive sequence would positively influence congressmen, lobbyists, and government officials. His job description read, "Photographic Muralist, Grade FCS-19, " and his contract was effective from Oct. 14, 1941 to July 2, 1942. At the same time Adams was saddled with his duties as Vice-Chairman of the Board of Advisors of the Department of Photography at New York's Museum of Modern Art which he had helped found in 1940. Thus, he was unable to start the mural project until June of 1942 when he headed west to make negatives. He planned to photograph in Colorado, Yellowstone, the Tetons, Glacier National Park, Mount Rainier and Crater Lake. Given his late start and the fact that World War II prevented his contract from being renewed, he made a number of now classic photographs, but never finished the mural project for the Department of the Interior.

I am sure that the New Mexican light had a lot to do with Ansel Adams returning to capture images.  There is a magic in our light and landscape that seems to offer inspiration to artists from around the world.

Ansel Adams: Church Doors Taos Pueblo

Church Taos Pueblo - 1942 National Archives, Department of Interior

Church Taos Pueblo - 1942 National Archives, Department of Interior (Angle 2)

Susan Brannon
15 August 2011

Church Taos Pueblo-Doors, and Angle 2 -Ansel Adams-  1942.   This is a good place for photographing in black and white because of the light. In the first image, the walls line up symmetrically to the closed door of the church.  In the second image, most likely taken at the same time, the church geometric s stand out and the door cannot be seen.  A good photo, is knowing where to stand.  We can see that Adam's shot the church from at least two angles.  Which one do you like best?  Both viewpoints have been made into posters and sold as prints all over the world.

Ansel Adams: Acoma Pueblo

Ansel Adams - Acoma Pueblo - Public Domain Printed 1941

Susan Brannon
13 August 2011
Acoma Pueblo- 1933, Public Domain Printed 1941.  Ansel Adams took this image while he was working for the Department of Interior.  I believe that the photograph was taken just after a storm, because the pool of water on the dry Acoma mesa is an unusual scene.  The image is now a part of the National Archives.  The pueblo is a U.S. National Historic Landmark and Registered of Historic Places.  Adams was drawn to the stark, elemental beauty of the natural and built environment. In this image, Adam's focused entirely on shape, form and the interplay of dark and light.  The large, placid, oval pool of water in the foreground is balanced against a series of adobe buildings in the background.  The middle is a transitional zone, that is created by the reflection of the architecture in the pool.  The image transforms the cultural and political realities of the Pueblo into a quiet realm of timeless beauty.

Ansel Adams: Saint Francis Church, Ranchos de Taos

Saint Francis Church, Ranchos de Taos, New Mexico, c. 1929-© The Ansel Adams Publishing Rights Trust This image is copyrighted by The Ansel Adams Publishing Rights Trust and cannot be printed or reproduced in any way. The use of the photograph is limited to viewing in the context of this web site.

Susan Brannon
13 August 2011
Saint Francis Church, Ranchos de Taos, New Mexico, c. 1929 - When he first saw the church, Adams was impressed by it's "magnificent form" and its "rigorous and simple design and structure." The photograph of this church was shot from the rear, which was the angle that Adams thought made it "one of the great architectural monuments of America." He wrote in Elements, "it is not really large, but it appears immense. The forms are fully functional; the massive rear buttress and the secondary buttress to the left are organically related to the basic masses of adobe, and all together seem an outcropping of the earth rather than merely an object constructed upon it."

Though this church is not actually in the Pueblo, it held significance for the entire area. Constructed in 1776, it is in the little Mexican American settlement of Ranchos de Taos a few miles south of the Pueblo. It had been interpreted by many painters and photographers, and Adams said he could not resist the challenge.

Adams wrote in Elements, "We should never deny the power of intuition or hesitate to follow its revelations... It is essential that the artist trust the mechanisms of both intellect and creative vision. The conscious introspective critical attitude has no place in the luminous moments of creative expression, but should be reserved for later, when the work is complete." He stated, "I seemed to know precisely the square yard of earth on which to place my tripod." He said, "Some intuitive thrust made this picture possible."

Adams stated in Elements that "this image is an experience in light." He described how he had used yellow and red filters before in many images in special high-altitude light of the Southwest. "But on this occasion some gentle angel whispered 'no filter' and I obeyed." Taking the shot with no filter allowed the blue sky to appear quite light, and the shadows were softened... A darker sky would have depreciated the feeling of light." He asks a good question himself: "What mechanism of the eye and mind selects patterns and relationships in an unfamiliar world about us and composes them as expressive images?" He doesn't claim to have the answers.

    * Camera: 6 1/2 X 8 1/2 Korona View
    * Lens: 8 1/2 inch Tessar-type lens
    * Film: orhochromatic (sensitive only to blue and green light)
    * Filter: none
    * Paper: Dassonville Charcoal Black on mildly textured rag paper of highest quality Developer Amidol

Information taken from: HHMA

Ansel Adams: Moonrise Hernandez

Ansel Adams - Moonrise Hernandez

Susan Brannon
 12 August 2011
Moonrise Hernandez - 4:05 P.M. on October 31, 1941 Moonrise is one of Adam's most popular images. Why is that?  Do you notice the white clouds, the moon, or the white gravestones first? Do you notice how the photograph is divided according to the "Rule of Thirds?"
Many artists believe it is boring to look at images that are absolutely symmetrical, with images divided exactly in half. In Moonrise, Adams has stimulated our eye by offering three layers, each with a different tone: the black sky, the white clouds, and the gray landscape. Adams made an interesting composition, which became very popular. It "combined serendipity and immediate technical recall." Serendipity means lucky chance. He "felt at the time it was an exceptional image" and when he took it, he felt "an almost prophetic sense of satisfaction." The scene has changed, there are still some of the same features, but the road is wider and busier.  There are more modern buildings, but the graveyard is still there.  When he was a young creative photographer, his original prints sold for $10, and in the 1960s for $50 - $100. The price for a print of Moonrise in the early 1970s was $500. Then the value of the creative photographs of Ansel Adams skyrocketed. At an auction in 1981, the sale of Moonrise set a record price for a photograph - $71,500! Ansel Adams was returning to Santa Fe, New Mexico after a discouraging day of photography. From the highway he glanced left and "saw an extraordinary situation - an inevitable photograph! I almost ditched the car and rushed to set up my 8 X 10" camera. I was yelling to my companions to bring me things from the car…I had a clear visualization of the image I wanted but…I could not find my exposure meter! The situation was desperate: the low sun was trailing the edge of clouds in the west, and shadow would soon dim the white crosses." He felt at a loss to guess the correct exposure, but suddenly realized he knew the luminance of the moon and quickly took the shot."

"
I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon – 250 c/ft2. Using the Exposure Formula, I placed this luminance on Zone VII; 60 c/ft2 therefore fell on Zone V, and the exposure with the filter factor o 3x was about 1 second at f/32 with ASA 64 film. I had no idea what the value of the foreground was, but I hoped it barely fell within the exposure scale. Not wanting to take chances, I indicated a water-bath development for the negative.
Realizing as I released the shutter that I had an unusual photograph which deserved a duplicate negative, I swiftly reversed the film holder, but as I pulled the darkslide the sunlight passed from the white crosses; I was a few seconds too late!”
Paraphrase of John Sexton, Ansel's technical assistant from 1979 to 1982
In October 1941 Ansel Adams was 39 years old, probably in peak physical shape and certainly at or near the height of his field photography. He was well practiced in every motion, and the time that it takes to make a duplicate negative, to replace the slide, reverse the film holder, remove the slide and cock the shutter is less than 3 seconds. Given that the initial exposure was 1 second and the decision to make a duplicate negative occurred then, Ansel was very, very close to missing that image. It is a testament to his skills that we are able to appreciate it today.”

• Camera: 8 X 10 view camera
• Lens: Cooke triple convertible lens.
• Light meter: lost!
• Film: Speed: ASA 64
• Filter: Wratten No. 15 (G) filter
• Exposure: 1 second at f/32.
• Development: dilute D-23 and ten developer to water sequences.
  Years later - refixed, washed the negative, and treated the lower section with a dilute solution of Kodak IN-5 intensifier.

Ansel Adams: Aspens

Ansel Adams -Aspens  ©2008 Ansel Adams Publishing Rights Trust

Ansel Adams - Aspens (no title)

Ansel Adams -  Aspens Northern New Mexico © The Ansel Adams Publishing Rights Trust

These images are copyrighted by The Ansel Adams Publishing Rights Trust and cannot be printed or reproduced in any way. The use of the photograph is limited to viewing in the context of this web site.

Susan Brannon

11 August 2011

Aspens- I believe that the second image was taken in Northern New Mexico in 1958.  Adams took many aspen images while he was there, and with this photo, the lighting looks like it was taken at the same time as the known and famous image that Adams is titled, "Aspens of Northern New Mexico"  I could not find the copyright on this one, nor a title, but I really like it. I chose this image because of the geometric of the trees and the lighting reflecting the fullness of the trees.  The first image shows a mastery of a vast spectrum of shadow and luminous light within the simplicity of black and white. The single lit leading tree with many other trees standing behind it.  

In this set of images, you can see how Adam's walked around to capture different views of the same subject.  He used the natural lighting, and it could have been taken either at sunrise, or near sunset because of the light on the trees.