"The leafless trees become spires of flame in the sunset, with the blue east for their background, and the stars of the dead calices of flowers, and every withered stem and stubble rimed with frost, contribute something to the mute music." (Emerson)
Mute music is what these photographs are. Black and white yet evoking color, they leave their ripening to our minds. They trust in saying less, just focusing on their subjects: trees wanting leaves, frost furring stones, a log robust as the foot from a Roman sculpture commanding attention, country roads reflecting light resemble streams, stumps that should be sad seeming to laugh as their shadows extend beyond themselves to the trees they once were, dirt giving life to the nakedness of a statue, the calm of sitters for the portraits trusting this photographer and friend.
If you think Ansel Adams only shoots big things. Think again. These photographs disclose another side. Like the writer who recreates a battle charge or fluttering of a young girl's heart, Ansel Adams finds his strength in small things, too. Whether he is capturing the war photographer Margaret Bourke-White with her cat or the petals of a flower, he gets in close and entices us to do the same. The rewards are great. Emerson would agree. Open your eyes to the beauty everywhere.
From one of the great American landscape photographers this collection has 53 plates overall, 40 of which were reproduced from the original Polaroid Land prints from an exhibition at the Metropolitan Museum of Art. Mostly made up of California - including Yosemite Valley, Bear Valley, Golden Gate Park and Castle Rock State Park - with a few others taken from Arizona, Connecticut, New Hampshire and Massachusetts.