More About the Image:
Ansel Adams likely made this photo in 1951, while traveling to one of the first meetings of the Aspen Institute, a gathering of intellectuals and artists set amidst Colorado’s natural beauty. Amongst the attendees slated to appear at the 1951 gathering were Dorothea Lange, the documentary photographer and photojournalist, and Berenice Abbott, whose iconic photographs of New York City became some of its defining images of the 20th century. Ansel said that ‘there seemed to be a special patina, enhanced by the high-altitude light and the static dignity of [Silverton] that was irresistible, [and by the] afternoon I saw it as a rather astonishing revelation of shapes.’ (E pg.99) In his book, The Negative, Ansel features this image to illustrate the range of his famous Zone System, highlighting how the tones on the tin rooves went beyond pure white (or Zone X) and the shadowed portions of the steeple were close to pure black. Through his use of filters and darkroom mastery, he was able to control the contrast and encapsulate that patina that caught his eye. The scene also has an element of nostalgia to it, the historic structures hidden behind a square top fence that makes them seem like an endangered part of society. While he did not believe there were ‘nostalgic overtones in his work,’ Ansel would insist that ‘I can only say that I photograph what appears aesthetically beautiful and what I can visualize as a photograph worth creating for myself and, I hope, for others.’ (E pg. 100-101)
So wrote Ansel Adams, whose photographs of the varied and rugged landscapes of the region have imprinted upon the imaginations of millions around the world. Beyond Yosemite and the High Sierra, the Southwest was one of Ansel’s best-loved regions of the country.
