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recent updated
Ansel Adams
1902-1984
The first of the several million photographs that have been made of Old Faithful geyser were made by William Henry Jackson in 1871. Jackson's plates required a much longer exposure than would have been ideal, and in consequence the spout came out looking a little woolly. Nevertheless his pictures were very fine, and if the problem had been simply that of making a generalized document of the great periodical monument the subject could have been considered disposed of one hundred years ago.
Faithful or not, however, the geyser never really repeats an earlier performance; the spout of water itself and the light and the quality of the day are always different. The event is new again each time.
Ansel Adams photographed the geyser on at least three separate occasions during the early forties, and produced pictures that are profoundly different from each other. The difference is due not to a willful act of artistic interpretation, but rather to the precision of Adams's sensibility: He saw what was there not in vague and general terms, but with a rigorous exactitude. The problem (as Cezanne put it) was to realize his sensation.
Much of the best photography of the past generation has concerned itself with giving permanent form to the ephemeral. This concern has expressed itself not only in the analysis of that swarming flux of movement within which Cartier-Bresson found his decisive moment, but also in the approach to subjects that the casual observer might think static.
A landscape does not move in the conventional sense, but it changes constantly in other ways, most notably through the agency of light. Ansel Adams attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique. This brilliant technique might be a millstone around the neck of a photographer who did not need it; for Adams nothing less would suffice to describe his subject.
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Eugene Atget
1857-1927
The life and the intention of Eugene Atget are fundamentally unknown to us.
A few documented facts and a handful of recollections and legends provide a scant outline of the man:
He was born in Libourne, near Bordeaux, in 1857, and worked as a sailor during his youth; from the sea he turned to the stage, with no more than minor success; at forty he quit acting, and after a tentative experiment with painting Atget became a photographer, and began his true life's work.
Untill his death thirty years later he worked quietly at his calling.
To a casual observer he might have seemed a typical commercial photographer of the day.
He was not progressive, but worked patiently with techniques that were obsolescent when he adopted them, and very nearly anachronistic by the time of his death.
He was little given to experiment in the conventional sense, and less to theorizing.
He founded no movement and attracted no circle.
He did however make photographs which for purity and intensity of vision have not been bettered.
Atget's work is unique on two levels.
He was the maker of a great visual catalogue of the fruits of French culture, as it survived in and near Paris in the first quarter of this century.
He was in addition a photographer of such authority and originality that his work remains a bench mark against which much of the most sophisticated contemporary photography measures itself.
Other photographers had been concerned with describing specific facts (documentation), or with exploiting their indivisual sensibilities (self-expression).
Atget enconpassed and transcended both approaches when he set himself the task of understanding and interpreting in visual terms a complex, ancient, and living tradition.
The pictures that he made in the service of this concept are seductively and deceptively simple, wholly poised, reticent, dense with experience, mysterious, and true.
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