The Negative

290 Pages·2004·71.03 MB·English

by  Ansel Adams

The Negative

The Ansel Adams Photography Series I Book 2
The Negative
Ansel Adams
with the collaboration of Robert Baker
LITTLE, BROWN AND COMPANY
NEW YORK BOSTON
In 1976, Ansel Adams selected Little, Brown and Company as the sole authorized
publisher of his books, calendars, and posters. At the same time, he established
The Ansel Adams Publishing Rights Trust in order to ensure the continuity and
quality of his legacy -both artistic and environmental.
As Ansel Adams himself wrote, "Perhaps the most important characteristic of my
work is what may be called print quality. It is very important that the reproduc­
tions be as good as you can possibly get them." The authorized books, calendars,
and posters published by Little, Brown have been rigorously supervised by the
Trust to make certain that Adams' exacting standards of quality are maintained.
Only such works published by Little, Brown and Company can be considered
authentic representations of the genius of Ansel Adams.
Frontispiece: CloudEsa,sS ti doeft hSei erNreav adac,a .19 62
Copyright © 1981, 2002 by the Trustees of The Ansel Adams Publishing Rights Trust
All rights reserved in all countries. No part of this book may be reproduced in any form or
by any electronic or mechanical means, including information storage and retrieval
systems, without permission in writing from the publisher, except by a reviewer who
may quote brief passages in a review.
Little, Brown and Company
Time Warner Book Group
1271 Avenue of the Americas, New York, NY 10020
Visit our Web site at www.bulfinchpress.com
This is the second volume of TheA nseAld amPsh otograSpehryi es.
Eleventh paperback printing, 2004
Library of Congress Cataloging-in-Publication Data
Adams, Ansel, 1902-1984
The negative.
Includes index.
l. Zone System (Photography) 2. Photography-Negatives.
I. Baker, Robert. II. Title
TR591.A3 770'.28'3 81-16808
ISBN 0-8212-1131-5 HC AACR2 ISBN 0-8212-2186-8 PB
Designed by David Ford
Technical illustrations by Omnigraphics
Printed and bound by Quebecor/Kingsport
PRINTED IN THE UNITED STATES OF AMERICA
Acknowledgments
The many books I have done on photography, technical and oth­
erwise, have been made possible by the wise counsel and competent
assistance of numerous friends and colleagues. In the technical and
educational fields, the information that has come to hand over more
than fifty years of work with the photographic process derives from
countless sources, only a few of which can be remembered and ac­
knowledged here. I do wish to recall the immense help I received
from Dr. Walter Clark, Dr. C. E. K. Mees, and others at Eastman
Kodak; from Dr. E. H. Land and his many associates at Polaroid
Corporation, and from various manufacturers who, over many years,
shared information generously in the course of conversation and the
exchange of letters.
I have always made a definite effort to confirm Zone System con­
cepts and other technical issues with knowledgeable scientists be­
fore publishing. I am aware of many weaknesses in the early Zone
System approach that have been rectified over the years by experts
and students alike. There is no one like a bright student to perceive
a problem of logic in the most assured statement, and I have appre­
ciated every comment and suggestion. The purpose of this technical
series is to communicate ideas, presenting a workable philosophy
and craft system for the understanding and practice of photography.
To all who have helped me over all these fifty years-my apprecia­
tion and gratitude!
Specifically in relation to this volume, I wish to thank Robert
Baker, my collaborator and editor, whose great ability and thoughtful
perceptions have done so much to bring the books to completion.
vi Acknowledgments
Next, John Sexton, photographer and teacher, has helped enor­
mously in making the studio photographs, and in performing the
technical tests which were necessary to encompass fully the prop­
erties of contemporary materials. My sincere thanks also to James
Alinder for his careful reading and perceptive comments on the man­
uscript of this book. Others around me in various capacities con­
tributed in important ways as well: Mary Alinder, who keeps
everything in order with schedules and communications; Victoria
Bell, Peggy Sexton, Phyllis Donohue, and King Dexter -all deserve
greatest appreciation.
I must also thank my publisher, New York Graphic Society, Floyd
Yearout and his very competent staff, as well as the book designer,
David Ford, and the technical illustrators, Omnigraphics.
Among the many other individuals and corporations whose as­
sistance I gratefully acknowledge are Nikon Inc., Tri-Ess Sciences,
Eastman Kodak Co. -in particular Jim Marron and Michael More -
Ilford Inc., Calumet Photographic, MacBeth Instruments, Fred
Picker of Zone VI Studios, Newfane, Vermont, and Messrs. Art Hall
and Don Leavitt.
Any book is a real event, and dependent on many human and
technical resources. Among all these interactions, I would not like
to omit the reader, whom I invite to submit ideas, ask questions,
and believe himself to be a participant in an educational experience.
A.A.
Contents
Foreword viii
Introduction ix
1 Visualization and Image Values 1
2 Light and Film 9
3 Exposure 29
4 The Zone System 47
5 Filters and Pre-exposure 99
6 Natural Light Photography 125
7 Artificial Light Photography 155
8 Darkroom Processes 181
9 Darkroom Equipment and Procedures 195
10 Value Control in Processing 219
Appendices 239
Index 266
Foreword
For Ansel Adams the art of photography and the practice of its craft
were integrally linked. The transformation of a visual encounter
with the world into a memorable photograph is the essence of what
every serious photographer wants to achieve. A successful photo­
graph is the product of a sensitive and receptive mind and a well­
executed sequence of actions in the field and darkroom.
The Negative -and the other volumes in The Ansel Adams Pho­
tography Series - is a detailed summation by Ansel Adams of a life­
time in photography. With the passage of time, many films and
much of the equipment discussed in the text have been replaced by
a new generation of materials and equipment with different charac­
teristics and capabilities.
Yet the concepts and imaginative techniques and procedures de­
scribed by Ansel in The Negative generally remain as valid and useful
as they were when he first began to write about them decades ago. The
most important lesson to be gleaned from Ansel's writing is an ap­
proach to photography -a philosophy, a methodology. For this rea­
son, Ansel's trustees and his publisher, Little, Brown and Company,
have continued to publish The Negative just as Ansel wrote it in its
final edition ( 1981 ). To bring the materials and practices up-to-date,
John P. Schaefer has written a modern interpretation based on The
Ansel Adams Photography Series. The Ansel Adams Guide: Basic
Techniques of Photography, Books 1 and 2, attempt to clarify and sim­
plify Ansel's sometimes difficult technical writing, and to apply his
approach and techniques to contemporary materials and equipment.
We hope the combination of the two series will prove to be most
helpful and stimulating as you pursue your work in photography.
The Trustees of the Ansel Adams Trust