As noted earlier, yesterday I again visited the “Ansel Adams: Early Works” exhibit at the San Jose Museum of Art. (Yesterday was supposed to be the final day – so if you missed it, I’m afraid you missed it!)

I always see and learn more when I have a chance to revisit work like this, and this was my second visit to this show. One of the wonderful things about it was that most of the photographs were small! This meant that they were presented more intimately, forcing one to look at them in a way different from our typical “monumental photograph” mindset when we look at Adams’ landscapes. In addition, many were from the 1920s (especially) and early 1930s before he adopted the more sharp and high contrast style with which most of us are more familiar.

A few things I came away with:

I’m so impressed with his seemingly atypical photograph of Stieglitz in his gallery in New York, with its beautiful composition and wonderful use of light and tonality. And next to this (small) photograph was a simple quote from Adams that (finally!) crystallized the whole Stieglitz “equivalence” thing for me.

I think I actually liked some of the early prints more than some the later ones, at least in a few cases. Side by side were hung two versions of the famous “Monolith” Half Dome photograph from the Diving Board. One was a small and rather dark early print, and the other was a much larger print made later that exhibits the lighter and brighter appearance. To me, the upper portion of the larger and more famous version has “issues,” especially in the handling of tones near the upper right corner. I think I actually prefer the darker rendition of his earlier print. (I guess that if I could “make my own Adams,” I might start with the darker one and go about 20% of the way towards the lighter one.)

In the “how could I have missed this before” department was my sudden recognition of the obvious parallels between one of his “White House Ruin” photographs (not the more famous one shot from an oblique angle but one shot straight on that even includes a bit of fence in the foreground) and the “Frozen Lake and Cliffs” photograph from Precipice Lake in the Sierra. Not only do both feature similar vertical banded patterns on the predominant rock faces, but both feature small “pyramid” shapes (sun-lit brush in the former and snow in the latter) and contrasting horizontal bands at the bottom of the frame (sunlit ground in the former and the ce/lake in the latter).

I also thought more about the photograph of roots that he made in Hawaii. As I understand it, Adams said that he didn’t really quite connect with Hawaii in the same way he connected with other subjects that he worked with. But this particular photograph – featuring a beautifully lit and composed group of curving roots and some small leaves – is truly wonderful.