Nicely done. Not only was he a technical genius in terms of his photographic skills including being a darkroom master but he also mastered where to stand and what to include and exclude as you demonstrated. I went to a museum exhibit with his original prints -- some of them 30 by 40 inches (approximately 76cm by 101cm for you metric folks) -- and all I can say was my mouth and eyes were wide open for the whole exhibit as it was absolutely sublime. If you ever get the chance to see the originals, jump on it.
An absolute inspired photographic genius. His work seems to reveal something new every time you view. Very nice analysis and presentation of his work and techniques.
The biggest peak is not in the light, composition subject occupy a "large" portion in a print light leading to or speak to it drawing the viewer attention to it. By means of leading lines, contrast, shapes textures etc...
Thank you for your appreciation. I wanted this to be the first video in thia series but then I thought to have a little time to experiment with this type of content before introducing one of my favourite photographers
If you would have been there at the moment of exposure, the subject would look totally different then what the photograph came out as. He saw the "finial print" or representation of the situation in his "minds eye" as something different then reality, as he termed it a "departure from reality", easily, easily done using his (Zone System) of visualization, development, and exposure; development always before the final exposure calculation. I believe he was a student of the (Camera Abscura) movement, ie: going beyond the use of cameras for record keeping to using them for creative art. How well he created along-the-lines of his "burning and dodging" philosophy' "just so you can't tell. Bob.
Another brilliant video showing the skills and artistry of the iconic photographers that have brought us to where we are today. Ansel is the best there ever was at landscape imagery and darkroom skills. Thanks for breaking down these images as a training tool for others.
A wonderful lecture about one of the pioneer landscape photographers. In the 1970's, I bought his series of books on photography and have learned much from him. My only criticism of your analysis is that I think you didn't emphasize enough how hard Adams worked to give photographs a sense of depth. For example, I agree with your suggestion that a dark El Capitan on the left of one of the first images serves as a block. However, IMHO, it is not to prevent your eye from wandering out of the left side of the image. It is a way to direct the viewer's attention back into the valley. On the right there is a sequence of focus points, starting with Bridalveil Falls (?) and also moving back into the valley. As the viewer's eye goes even deeper into the valley, there is less to catch the eye, but there is still enough to show that the valley continues much further, with even more promised wonders. In the image of the aspens, the almost saturated black of the forest interior provides wonderful negative space, but the small details of a few trees deeper still gives the image depth. Again, thanks for the insights.
Great video about composition. I really learned much about stop points and stop areas. It´s great that you have included one of your fotos as a reference to what yourself have learned from Mr AA. Thanks a lot for sharing, Tom! Greetings from Munich
Shot number 2 ("Clearing Winter Storm" - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sOdQIpr-WkQ.html) is a pivotal image in my thinking of composition because I don't think there's 1 square cm in that frame that is NOT "subject". This is probably the best photograph of air, the space defined here by El Capitan to the left, El Capitan Meadows on the bottom and Cathedral Rocks with Bridal Veil Falls on the right (your "subject"), as I can imagine. You've got the mists coming in both in the foreground and beyond El Cap, plus more mist in the valley as you look further up the valley towards Taft Point, then the peak almost completely hidden in the distance. Almost the entire top third is sky. IOWs, the "subject" lies dead center here and radiates outward right to the edges of the frame. Yes, I know all about the rule of thirds and the Fibonacci Curve, L & O composition, etc.and I don't believe this image uses any of those. This is an image of space and air. That's what I think Adams visualized there. Does your eye really land on Cathedral Rock and rest there? Mine doesn't. There's too much richness throughout. Let me put it this way: Adams didn't title this, "Cathedral Rock and Bridal Veil Falls" did he? Makes it one helluva crop, too, dontcha think? :)
Good content here, Tom. I am wondering where you sourced image #2? It looks to be a tight crop of his image, “clearing winter storm”, but that is not his original composition. I’m certainly not a historian, but I have been to his gallery many times, and have a pretty extensive library of his work and I haven’t see it presented like this. Please don’t take this a criticism, I’m just curious. Thanks for making this enjoyable content.
