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Group F/64 and Pure Photography

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Group F/64 and Pure Photography
Influence
Everyone is influenced by something different. Some are influenced by words, some are influenced by images, and some people are influenced by other people. I am influenced in all these ways but I am however mostly influenced by people. People have a way of showing you what they feel. The three people that influence me show you how they feel through art. All three of them are photographers. They show their emotions through extremely well put together images.
Each of them captures breathtaking images of landscape. These three artists are Ansel Adams, Willard Van Dyke, and Edward Weston. While each of them has taken images other than landscape, their landscape photos are what influence me. I love nature and the images people capture in nature.
Ansel Adams was an American photographer who is best known to this day for his black and white nature photography. Adams was influenced by Ralph Waldo Emerson. Emerson was an American poet in the 1800’s. Adams was sponsored by Albert Bender, who in the 1920’s was a top supporter of artist in San Francisco. Paul Strands was one of the main reasons Adams perused photography. Strands convinced him to give all of his talent and effort to photography. Adams felt he that he was not up to the standards of Strands and other artist. So Adams broadened his subject matter. Adams decided to visualize an image before actually capturing it.
Adams followed the rules of Pure Photography. He chose Pure Photography over pictorialism. Pictorialism is an international art style and an aesthetic. Pure Photography is photography that attempts to portray a scene as realistic. Adams loved everything about nature. He loved going to national parks to capture his images. As he became more in more involved in photography he visited more national parks more often. With this love for the parks he wanted to help expand the national park system, and in the end he did help.
Along with helping the national park system he also helped make

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