Ansel Adams is one of the most famous photographers in history. His work proves his credibility in photography and art. During the viewing of his photograph, Mount Williamson Clearing Storm, there was one thing that came to mind when viewing it. While performing the research for the topic of this piece created by Adams, the interpretation behind it became clear. Ansel Adams Mount Williamson Clearing Storm is an attribute to those who may be climbing over a mountain in life can be inspired to complete the task and see the light ahead.
This is really a lot to say in a single photograph. The layout of the photograph is really what says it all. Ansel Adams has used the horizon to focus the attention beyond the rocks and straight to the mountains that loom above the land. In using horizon and the rock set right in front of the mountains, Adams made a triangular view (upside down). According to Paul Zelanski and Mary Pat Fisher, analyzing a painting that has used triangles can symbolize a pattern that is a subconscious, invisible structure unifying the painting (1996, 37).
In Adams photograph, the triangle is clearly seen between the rock and the mountains. The rock is the tip of the triangle while the mountains are the base. It seems that the relationship of the rock to the mountains can be interpreted as the person. The rock is the starting place for the journey across the other rocks towards the mountains.
The triangle serves another purpose within this photograph. Staring across the rock field it would make any person daunt at the possibility of crossing it. That is why Adams lined up the photograph the way that he did. Using the triangle formation, he directs the viewers eyes from the foremost rock up towards the mountains. The light then looks beautiful to the eyes and makes it appear easier to cross the rock field. It almost seems that the person could simply float over to the mountains.
In the book Design Principles and Problems, written by Zelanski and Fisher, the triangles that were used in the painting The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene (1485, 37), were created by the gazes of the two ladies at the base of Christs cross (1996, 37). This was one relationship created using triangles, according to Zelanski and Fisher, and the other was created from the two men who also gazed at Christ, creating another triangle to direct the viewers eyes (1996, 37). The relationship in Adams photograph is not necessarily a relationship between people, however.
In many songs and poems, as well as other literary forms, mountains have often been described as problems. In Miley Cyrus most recent song, The Climb, she says the following
Theres always gonna be another mountain
Im always gonna wanna make it move
Always gonna be a uphill battle
Sometimes Im gonna have to lose
Aint about how fast I get there
Aint about whats waiting on the other side
Its the climb
(Miley Cyrus, 2009)
The mountain has been referred to be symbolized as the struggle or problem to overcome in a persons life. It seems that in this photograph from the layout using the triangle, horizon, and light that Adams was trying to make the point that Miley made in her song. The rock field looks daunting when glancing around, but through Adams layout makes the climb appear easy.
The use of light by Adams in this photograph also leaves the impression that the climb or walk towards the mountains is attainable. Even though the road is rocky, the view is inspiring when our eyes are led toward the top of the mountains. Seeing the clouds with the light shining down on them and the mountains gives the viewer a lighter feeling as well. It makes it seem that the viewer could almost float to the top. The breathtaking view that Adams caught at the right time of day and with the right composition gives hope to anyone experiencing a mountain sized problem, similar to Mileys song.
During the taking of this photograph by Adams, he had been invited to the camp (Manzanar, a camp for Japanese-Americans detained during World War II) by Ralph Merritt, the newly appointed director, who ran the camp with an enlightened attitude, according to Burt Chernow Galleries (Adams, 65-69). The detainees were set in a desert with the view of the Sierra Mountains around them, as mentioned by the Burt Chernow galleries (Adams, 65-69). It seems that these people who may have been unlawfully detained during this time period certainly had a struggle to go through.
As mentioned earlier, I believe that given this information and reason why Adams was invited to the camp, he may have represented the struggles of these people in his photographs at the time. Whether he did this consciously or subconsciously, it is not known. Adams was a master at layout in his photographs as well as light and shadow. Adams was also mentioned by the Burt Chernow Galleries that he believed the Japanese-Americans, a nature-loving people, must have been inspired and strengthened by the setting, which gave the people a certain respite from their mood of isolation and concern for the future (Adams,65-69).
The setting of the photograph in using the triangular layout with the single stone in the forefront expanding to the mountains with light dancing around the tip seems to have been created for inspiration. The inspiration that the Japanese-American people may have experienced from day to day in the camp was captured in this photograph.
These people probably did not know what was going to happen to them from day to day. They were forced to be in the camp far away from their home. Most of these people, if not all, were innocent from crime during this time period. The injustice of discriminating against them beyond their will should be viewed as an undue hardship and struggle that they faced. Since they were bordered by desert, rocks, and mountains, there was no possibility of escape.
The day to day thoughts that they may have had could have been eased by the spectacular view that they could behold in the surrounding landscape. The mountains are beautiful to behold and can give strength to anyone who takes them in. Simply knowing that the mountains still stand can give encouragement to anyone who lives around them.
The photographs that Adams created while visiting to the camp were said to be among the best he created during 1943 1945 (Adams, 65-69). With the composition of this photograph and the research behind where it was taken that Adams created more than just a picture. This breathtaking view had a double meaning behind it. The capture of the Japanese-Americans struggle of being held captive was inspired by the surrounding view and recorded in this photograph. While the struggle for these people, and any person, may be along a rocky path, the light shines ahead over the mountains. The task to overcome or make the best of the climb comes from the clearing of the storm and the presence of hope and light on the other side, beyond the rocky path.
With the evidence given through the research, I conclude that Adams presented the photograph of Mount Williamson Clearing Storm as inspiration to the Japanese-American prisoners. It seems also since the director was one that had the theory of enlightenment, perhaps this was his purpose of inviting Adams. Based on what is known about the camp and the time period, this would be a logical conclusion to the structure of the photograph by Adams. There is no known record of him saying that this is why he created the piece in this way, but based on the information given and first glance of the photograph itself, this is a logical conclusion. After glancing at the photograph the very first time, the view is certainly breathtaking. While delving into the layout and underlying pattern of the photograph, the symbolization comes out.
This is really a lot to say in a single photograph. The layout of the photograph is really what says it all. Ansel Adams has used the horizon to focus the attention beyond the rocks and straight to the mountains that loom above the land. In using horizon and the rock set right in front of the mountains, Adams made a triangular view (upside down). According to Paul Zelanski and Mary Pat Fisher, analyzing a painting that has used triangles can symbolize a pattern that is a subconscious, invisible structure unifying the painting (1996, 37).
In Adams photograph, the triangle is clearly seen between the rock and the mountains. The rock is the tip of the triangle while the mountains are the base. It seems that the relationship of the rock to the mountains can be interpreted as the person. The rock is the starting place for the journey across the other rocks towards the mountains.
The triangle serves another purpose within this photograph. Staring across the rock field it would make any person daunt at the possibility of crossing it. That is why Adams lined up the photograph the way that he did. Using the triangle formation, he directs the viewers eyes from the foremost rock up towards the mountains. The light then looks beautiful to the eyes and makes it appear easier to cross the rock field. It almost seems that the person could simply float over to the mountains.
In the book Design Principles and Problems, written by Zelanski and Fisher, the triangles that were used in the painting The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene (1485, 37), were created by the gazes of the two ladies at the base of Christs cross (1996, 37). This was one relationship created using triangles, according to Zelanski and Fisher, and the other was created from the two men who also gazed at Christ, creating another triangle to direct the viewers eyes (1996, 37). The relationship in Adams photograph is not necessarily a relationship between people, however.
In many songs and poems, as well as other literary forms, mountains have often been described as problems. In Miley Cyrus most recent song, The Climb, she says the following
Theres always gonna be another mountain
Im always gonna wanna make it move
Always gonna be a uphill battle
Sometimes Im gonna have to lose
Aint about how fast I get there
Aint about whats waiting on the other side
Its the climb
(Miley Cyrus, 2009)
The mountain has been referred to be symbolized as the struggle or problem to overcome in a persons life. It seems that in this photograph from the layout using the triangle, horizon, and light that Adams was trying to make the point that Miley made in her song. The rock field looks daunting when glancing around, but through Adams layout makes the climb appear easy.
The use of light by Adams in this photograph also leaves the impression that the climb or walk towards the mountains is attainable. Even though the road is rocky, the view is inspiring when our eyes are led toward the top of the mountains. Seeing the clouds with the light shining down on them and the mountains gives the viewer a lighter feeling as well. It makes it seem that the viewer could almost float to the top. The breathtaking view that Adams caught at the right time of day and with the right composition gives hope to anyone experiencing a mountain sized problem, similar to Mileys song.
During the taking of this photograph by Adams, he had been invited to the camp (Manzanar, a camp for Japanese-Americans detained during World War II) by Ralph Merritt, the newly appointed director, who ran the camp with an enlightened attitude, according to Burt Chernow Galleries (Adams, 65-69). The detainees were set in a desert with the view of the Sierra Mountains around them, as mentioned by the Burt Chernow galleries (Adams, 65-69). It seems that these people who may have been unlawfully detained during this time period certainly had a struggle to go through.
As mentioned earlier, I believe that given this information and reason why Adams was invited to the camp, he may have represented the struggles of these people in his photographs at the time. Whether he did this consciously or subconsciously, it is not known. Adams was a master at layout in his photographs as well as light and shadow. Adams was also mentioned by the Burt Chernow Galleries that he believed the Japanese-Americans, a nature-loving people, must have been inspired and strengthened by the setting, which gave the people a certain respite from their mood of isolation and concern for the future (Adams,65-69).
The setting of the photograph in using the triangular layout with the single stone in the forefront expanding to the mountains with light dancing around the tip seems to have been created for inspiration. The inspiration that the Japanese-American people may have experienced from day to day in the camp was captured in this photograph.
These people probably did not know what was going to happen to them from day to day. They were forced to be in the camp far away from their home. Most of these people, if not all, were innocent from crime during this time period. The injustice of discriminating against them beyond their will should be viewed as an undue hardship and struggle that they faced. Since they were bordered by desert, rocks, and mountains, there was no possibility of escape.
The day to day thoughts that they may have had could have been eased by the spectacular view that they could behold in the surrounding landscape. The mountains are beautiful to behold and can give strength to anyone who takes them in. Simply knowing that the mountains still stand can give encouragement to anyone who lives around them.
The photographs that Adams created while visiting to the camp were said to be among the best he created during 1943 1945 (Adams, 65-69). With the composition of this photograph and the research behind where it was taken that Adams created more than just a picture. This breathtaking view had a double meaning behind it. The capture of the Japanese-Americans struggle of being held captive was inspired by the surrounding view and recorded in this photograph. While the struggle for these people, and any person, may be along a rocky path, the light shines ahead over the mountains. The task to overcome or make the best of the climb comes from the clearing of the storm and the presence of hope and light on the other side, beyond the rocky path.
With the evidence given through the research, I conclude that Adams presented the photograph of Mount Williamson Clearing Storm as inspiration to the Japanese-American prisoners. It seems also since the director was one that had the theory of enlightenment, perhaps this was his purpose of inviting Adams. Based on what is known about the camp and the time period, this would be a logical conclusion to the structure of the photograph by Adams. There is no known record of him saying that this is why he created the piece in this way, but based on the information given and first glance of the photograph itself, this is a logical conclusion. After glancing at the photograph the very first time, the view is certainly breathtaking. While delving into the layout and underlying pattern of the photograph, the symbolization comes out.
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