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you're a bird on a perch he says as is aereo
is photography reflects his environment and cisco where he was born it or yosemite most famous landscapes full of space and like ansel adams has combined creative and professional photography on the highest level of awareness writer and conservationist work of the moderate in that what he called a grand gesture a sierra many people using the camera by their natural environment he does not the roots of this development or basically naturalistic
compared where lee and effectively used to see beneath the surface and record the qualities of nature and humanity which live our latent in all things elemental nature must be approached with reverential then the grand landscapes and the blade of grass here with equal eloquent expression is not enough design style technique these two and not enough about the street for the banned self expression ott set alfred stieglitz is the affirmation of life and life are a few gentle evidence is everywhere i first came to some of the valley with my family in nineteen sixteen and i have not missed a single year since then every year has been an extraordinary experience and this time goes on this experience becomes more penetrating and more related to the world of law i work
has always been associated with yosemite and had become well one of my whole being that this experience has been of that isolation on the contrary the infinitely varied photographic problems of the senate had hoped the development techniques and deepened my perception the addams family or somebody was built in nineteen twenty six by virginia adam's father peter a music lover to remember him
and the nominations others come before reality i photographed him as an instrument of love and revelations if true for that need not be explained that can be contained in one of the photographic images that show was to the moment of exposure that finds expression only in the final prep some photographic process is cannot fully duplicate the range and subtleties of the expressive print and sullivan says from time to time issued limited editions of the original photographs and portfolio form expressions were not back in i photographed in the show the grant isn't intimacies of nature where i hope encourage perspective it to speak for himself the inexhaustible source is a beauty in the natural world around him fortunately he indeed you can
see mount mckinley against someone that night sky to kill her where right you will instantly senate aide workers and the summer of my big rock concert a bike at but perhaps in his own garden even a pop up window sill a single leak turned to some real hint of the revelation that they can tell when he expressed in the domains of the national park perhaps the dominant quality
the imminent i believe it will and this is largely a state of mind the material aspects of the world the rocks trees the air are but as nancy new role in this is an interview that it will do this will more chances and we know yet how that so although in a way a mouse sufficiently advanced to consider resources other the materialistic attacking us intangible and vulnerable to miss apathy they are in fact the symbols of spiritual life a vast impersonal camp is transcending the
computer mixed up vision to qualify ethical and moral compass clear realities of nature seen with me and i was going to reveal that the ultimate goal of god in the domains of both major and i have strongly influenced our culture i can we not bring them into more definite association in my own experience here in the senate the i find that the many who approached the opportunity of hearing great music religious devotion there was always great magic in the beginning of the emotional experience of naked and the aesthetic experience of ways
it's b
as bell
as the eighth inning it's been
and salons affinity with nature has never met with girl from contemporary life is equally at home in yosemite and in the city of san francisco where he was born studied music the pain the objects that surround and celebs reflect his affinity with a natural scene and with the works of artist and craftsman who are deeply rooted in their native surroundings lee adams homes of always been a gathering place for artists conservationists musicians and students my approach to teaching is i'm sure quite a lot about i think of teaching is far
more than the mere conveyance fact that it is a matter of taking the student into one's confident time and again and making it possible for him to reciprocate as do most feel that he together with you is making a great exploration into the world of creation perhaps to grow dimmer and you don't work with a given amount of penetrating definition of the ideal thinker the patriot and he'd be indeed was that not that you enter the house or his wisdom but rather major into the threshold of your own mind bending young photographers have studied with jerry sharpe coco jones
philip green don wert it is no mere coincidence for them to learn and discussions of photography often revolve around such terms as composition total value of the negative as a score of the finished product as a performance an art is definable only in it so it is a difficult to speak about photography as it is about music penetrating the smokescreen of equipment and techniques the art of photography is long and bible as any of the creative medium huge
being an artist did not interfere with professionals rather the artist doing professional work can go on a subconscious perception necessary to do an imaginative job without gimmicks without really is only as honest or dishonest harbor for himself his subconscious is constantly at work with guns in the face with the outside world that statement is made
it is of the subjects character the approach can be liberal an architect surrounded by his blueprint for the artist can use more subtle means of characterization even those unfamiliar with clients kennedy's photography of renaissance sculpture cannot feel the sense is stow when confronted with his portrait which is so subtly in tune with kennedy's own work adams has always been conscious of his work in relation to other photographers throughout the short history of photography there have been very few really great photographers practicing anywhere close friend represented a great influence on my work the first great influence of my career and that first came to mexico in nineteen twenty
nine and nineteen thirty and then our studio he showed me quite a few of his partner that may get and that they were complete revelation i had never before seen photographs of a simple direct clarity and the natives themselves were so beautiful but it was almost a necessary to visualize the final event australia is of course one of the very greatest others about time without doubt one of the greatest writers and all the history of the club this mailbox belonged to a great an unassuming them i first met edward weston in the studio but then the incident and siskel i think it was about nineteen eighty eight this was the beginning of a long friendship which reached into many corridors of experience there are many visits in our homes mr cano spanish spoken mr weston to work and one of the unique
creative monuments about time in some strange way that we can drive giving every western and had worked together in a world of greatly in need of our vacation and simplicity i first met alfred stieglitz in new york in nineteen thirty three experience was a tremendous one puny it opened up not only best perspectives
and photography becomes that some ideas relating to the entire world of art two alfred stieglitz the only thing that mattered was the sommelier growing things about these things were in relation to humanity the agony of humanity was in direct relation to humanity separation from the crew information people were throwing things just like pre historic periods about the topography of time he believed that the explosive potential of man is timeless and that those who self consciously strive for me a contemporary expression and david just go on the start he claimed that the tragedy of america rising and the exploitation of nature and of human potential his attitude was the obvious a conceit that was an attitude of responsibility humanity in the broadest sense he was
about profit to those who believed that something is better than nothing but there's a luminous guiding spirit of those who have faith in the potentials of our land and our people who work in both from within the limitless resources of the spirit the artist must contemplate all things that all of them a true strangers in order to get a sense of the prominent and the significant than saddam's work to make her inspiration for the arts the dawn wind of the high sierra is not just a passage of cool air to post conifers but within the labyrinth of human consciousness becomes turing of some world magic most delicate persuasion the grand lifted the key times more than the mechanistic world unfolding of the earth's crust becomes a primal gesture of they are and the egregious
cuts and on the ancient acadian coast and even more ancient athletics are disputes the granite have lived with more than a slow coming routine obviously there are purses familiar with the eons of creation hard times shot in the future a terrifying all the levy as we must that things of the heart and mind of most enduring this is the opportunity to apply but as a potent instruments of revelation of touching the conscience i'm going to be has been
Series
Photography: The Incisive Art
Episode Number
1
Episode
Photography as an Art
Producing Organization
KQED-TV (Television station : San Francisco, Calif.)
Contributing Organization
KQED (San Francisco, California)
Library of Congress (Washington, District of Columbia)
AAPB ID
cpb-aacip/55-70zpd439
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Description
To introduce the series, we travel with photographer Adams to the places he particularly admires: Yosemite National Park, the high Sierras, San Francisco, his birthplace. "Other people," remarks Mr. Adams, "bypass their natural environment to take photographs of the rare or exotic." He does not, he declares, because his life and career have been formed around a return to the manifestation of nature which he has always known and loved. In this episode, Adams is seen photographing Yosemite Park, conveying through his pictures a sense of discovery and rediscovery. Also seen is a collection of his photographs which extends back through the past thirty years, each a restatement of his basic philosophy. It is during this episode that Adams acknowledges his debt to other photographers and explains his methods of teaching. (Description adapted from documents in the NET Microfiche)
From station KQED in San Francisco comes a series of 5 episodes designed to increase the viewers appreciation of the art of photography. Featuring one of Americas greatest photographers, Ansel Adams, the series is an exploration of the techniques and philosophy which can transform photography from a mechanical record to a delicate and sensitive art. Because television is a medium which appeals to the eye as well as to the ear of the audience, it is a particularly appropriate means of explaining photographic theory, of illustrating techniques as they are being used, and of showing the results of these techniques at the same time. Producer: Robert Katz. Guitar: Joseph Bacon Piano: LeRoy Miller, Ansel Adams (Description adapted from documents in the NET Microfiche)
Broadcast
1960-06-02
Broadcast
1960-12-25
Asset type
Episode
Topics
Education
Fine Arts
Media type
Moving Image
Duration
00:29:51
Embed Code
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Credits
Camera Operator: Green, Philip
Camera Operator: Sutton, Denver
Camera Operator: Saraf, Irving
Camera Operator: Dawson, Larry
Camera Operator: Deeves, Joseph
Director: Katz, Robert A.
Host: Adams, Ansel
Narrator: Triest, William
Performer: Adams, Ansel
Performer: Miller, LeRoy
Performer: Bacon, Joseph
Producer: Katz, Robert A.
Producing Organization: KQED-TV (Television station : San Francisco, Calif.)
Release Agent: KQED
AAPB Contributor Holdings
KQED
Identifier: 1154;138 (KQED AAP)
Format: U-matic
Generation: Master
Duration: 00:29:00
Library of Congress
Identifier: 1877222-1 (MAVIS Item ID)
Format: 16mm film
Generation: Copy: Access
Color: B&W
Library of Congress
Identifier: 1877222-3 (MAVIS Item ID)
Generation: Master
Library of Congress
Identifier: 1877222-4 (MAVIS Item ID)
Generation: Copy: Access
Indiana University Libraries Moving Image Archive
Identifier: [request film based on title] (Indiana University)
Format: 16mm film
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Photography: The Incisive Art; 1; Photography as an Art,” 1960-06-02, KQED, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed July 24, 2021, http://americanarchive.org/catalog/cpb-aacip-55-70zpd439.
MLA: “Photography: The Incisive Art; 1; Photography as an Art.” 1960-06-02. KQED, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. July 24, 2021. <http://americanarchive.org/catalog/cpb-aacip-55-70zpd439>.
APA: Photography: The Incisive Art; 1; Photography as an Art. Boston, MA: KQED, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-55-70zpd439