Group f/64

 

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.” - Ansel Adams
 
Ansel Adams, Clearing Winter Storm, February 23, 1935.
 

 

 

 

 

 

 

 

 

 

 

Walker Evans, Car Parts, c. 1930.

 

 

 

 

 

 

 

 

 

 

Walker Evans, Shoeshine Stand, 1936.

 

 

 

 

 

 

 

 

 

 

Allie Mae Burroughs

Walker Evans, Floyd Burroughs, 1936.
Walker Evans, Allie Mae Burroughs, 1936.

 

 

 

 

 

 

 

 

 

 

Burrough's Kitchen

Walker Evans, Kitchen in Floyd Burroughs' Home, 1936.
Walker Evans, Kitchen Corner in Floyd Burroughs' Home, 1936.

 

 

 

 

 

 

 

 

 

 

 

1938 Walker Evans's work exhibited at the Museum of Modern Art's
first show devoted to a photographer

 

 

 

 

 

 

 

 

 

 

 

Banana Plant

Imogen Cunningham, Banana Plant, c. 1929.

 

 

 

 

 

 

 

 

 

 

Imogen Cunningham, Two Calle, 1929.
Imogen Cunningham, Frida Kahlo, 1931.

 

 

 

 

 

 

 

 

 

 

Ansel Adams, Thunderstorm, Yosemite, 1945.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weston with view camera, 1937

view from a view camera
View camera

 

 

 

 

 

 

 

 

 

 

 

Group f/64 approach:
 
  • Sought greatest depth of field with smallest lens aperture
  • Sharp focus
  • Close-up views
  • Large-view format camera
  • Contact prints instead of enlarging
 
Ansel Adams, Rose on Driftwood, 1933.
 

 

 

 

 

 

 

 

 

 

 

Edward Weston, Excusado, 1925.

 

Weston described this photo as revealing "the very substance and quintessence of the thing itself"

 

 

 

 

 

 

 

 

 

 

Edward Weston, Nude, 1936.

 

 

 

 

 

 

 

 

 

"I could wait no longer to print them - my new peppers, so I put aside several orders, and yesterday afternoon had an exciting time with seven new negatives.

First I printed my favorite, the one made last Saturday, just as the light was failing - quickly made, but with a week's previous effort back of my immediate, unhesitating decision. A week?  Yes, on this certain pepper, but twenty-eight years of effort, starting with a youth on a farm in Michigan, armed with a no. 2 Bull's Eye [Kodak] have gone into the making of this pepper, which I consider a peak of acheivement.

It is a classic, completely satisfying - a pepper - but more than a pepper: abstract, in that it is completely outside subject matter... this new pepper takes one beyond the world we know in the conscious mind."

- Edward Weston from his Daybook 1930

Edward Weston, Pepper #30, 1930.