Currently there’s an exhibition of over thirty prints by Ansel Adams and Edward Weston at the Cantor Arts Center at Stanford. Yesterday I stopped in for a docent tour of the show and enjoyed seeing their prints with Carol’s accompanying commentary.
She started with the two images above. On the left is Edward Weston taken by Ansel Adams. On the right is Ansel Adams taken by Edward Weston. In the exhibition the Weston prints are smaller – 8×10 contact prints in white frames and unsigned on the front while the Adams prints are signed and framed in black. A nice contrast.
The current exhibition draws from the Capital Group Foundation’s gift of 1,000 photographs to the Cantor Arts Center at Stanford University that includes works by American photographic masters Ansel Adams, Edward Curtis, John Gutmann, Helen Levitt, Wright Morris, Gordon Parks, and Edward Weston.
Once in a while, I’ll snap a quick shot on my iPhone and, sometime later, come back and look at it more closely. This is one of those images – shot yesterday at Sharon Park in Menlo Park while out for a walk with Lily. I had just come back from the Menlo Park Library where I’d spent an hour or two looking through some of their great books – including a huge book on the French Impressionists and a large 1974 collection of Ansel Adams’ images.
Perhaps some sort of combination of those two is what I saw when I snapped this shot while on the go with my iPhone 5. I opted to post process it using Topaz Simplify 4 – with the Black and White I preset brought back into Photoshop in Luminosity blend mode. I then added an Oil Paint layer – that impressionist effect working a bit of its magic on me!
Printed in Italy? Not what I might have expected. Maybe printed in Hong Kong, or China, or …? The wonderful new book about Ansel Adams by Andrea Stillman is – yep – printed in Italy. Published by long time Adams’ publisher Little, Brown – I wonder why it was “printed in Italy”? But, that’s just a curiosity.
The book itself is a delight. “Looking at Ansel Adams: The Photographs and the Man” shares Stillman’s insights and perspectives as Adams’ former assistant. She’s selected twenty of his photographs for exploration in the book. “Ten of the twenty are among what I call Ansel’s ‘greatest hits'”, she writes. But she also includes ten others – less familiar Adams’ images. Her scope is just right.
Two years ago this month, my late friend Chris Gulker and I drove south from Menlo Park to take in a unique exhibition of Ansel Adams prints at the Monterey Museum of Art. It was a very special trip for the two of us – Chris was a very talented black and white photographer and he was an avid student of Adams’ work. I walked Chris through the exhibition in his wheel chair – taking it slow and listening to his commentary on each photograph along the way. He blogged about it.
Along the way, we met up with the owner of this exhibition’s “Museum Set” – Adams’ daughter Anne Adams Helms. She was spending a few hours at the museum and enjoyed talking about her Dad. Chris asked about the difference in the way Adams printed his images over the course of his lifetime – and Anne talked about how the prints evolved to be darker late in his life.
One of Chris’ favorite Adams’ images is perhaps his best known – Moonrise. In the book, Stillman tells the story of this image – illustrating the evolution of Adams’ prints as he darkened the image over the years. The print of Moonrise at the exhibition was one of the darker ones – the Museum Sets having been printed late in his life. Chris just loved it – perhaps his most favorite image.
I learned a lot from this trip to Monterey with Chris as we shared our feelings about the special black and white imagery of Ansel Adams. Stillman’s personal remembrances in her new book bring back those memories to me again. A very special work – highly recommended!