443:'s vision as focused on "what surrounded them in such abundance: the landscape, the flourishing organic growth and the still viable rural life. Pointing their lenses at the kind of agrarian objects that had vanished from the artistic consciousness of many eastern urbanites – fence posts, barn roofs, and rusting farm implements – they treated these objects with the same sharp scrutiny as were latches and blast furnaces in the East. However, even in California, these themes look to a vanishing way of life, and the energy contained in the images derived in many instances from formal design rather than from the kind of intense belief in the future that had motivated easterners enamored of machine culture."
20:
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limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography
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that was gaining popularity. However, in an interview in 1975 Holder recalled that he and Van Dyke thought up the name during a ferry ride from
Oakland to San Francisco. The group originally wrote their name "Group f.64", but as the notation with a slash was replacing that with a dot or period, they
189:
in San
Francisco, and because of the public's interest in that show the photographers who gathered at Van Dyke's home decided to put together a group exhibition of their work. They convinced the director at the de Young Museum to give them the space, and on November 15, 1932, the first exhibition of
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The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
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were felt throughout
California, and the Group members had a series of difficult discussions about the premises for art in those challenging economic times. The effects of the Depression, coupled with the departure of several members of the group from San Francisco (including Weston who moved to
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with rigid limitations, or to present our work with belligerent scorn of other view-points, but to indicate what we consider to be reasonable statements of straight photography. Our individual tendencies are encouraged; the Group
Exhibits suggest distinctive individual view-points, technical and
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is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the
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and therefore a selection of relatively slow-moving or motionless subject matter, such as landscapes and still life, but in the typically bright
California light this is less a factor in the subject matter chosen than the sheer size and clumsiness of the cameras, compared to the smaller cameras
92:
At the same time, workers throughout the country were beginning to organize for better wages and working conditions. There was a growing movement among the economically oppressed to band together for solidarity and bargaining strength, and photographers were directly participating in these
282:. She also recounted that Brett Weston, whom she married in 1952, also considered himself a member. This suggests that an absolute delineation of membership is difficult to determine in light of the informality of the group’s shifting social composition during the 1930s and 1940s.
165:, an apprentice of Edward Weston, decided to organize some of their fellow photographers for the purposes of promoting a common aesthetic principle. In the early 1930s Van Dyke established a small photography gallery in his home at 683 Brockhurst in Oakland. He called the gallery
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is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
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The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
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artists and writers. These circumstances not only helped set up the situation in which a group of like-minded friends decided to come together around a common interest, but they played a significant role in how they thought about their effort. Group
129:
While all of this social change was going on, photographers were struggling to redefine what their medium looked like and what it was supposed to represent. Until the 1920s the primary aesthetic standard of photography was
146:, but by the end of that decade there was no clear successor to pictorialism as a common visual art form. Photographers like Weston were tired of the old way of seeing and were eager to promote their new vision.
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believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and
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as an organized faction consisting of the first seven photographers, and view the other four photographers as associated with the group by virtue of their visual aesthetics. However, in an interview in 1997
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who shared a common photographic style characterized by sharply focused and carefully framed images seen through a particularly
Western (U.S.) viewpoint. In part, they formed in opposition to the
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The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern
Photography.
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is this: it is an organization of serious photographers without formal ritual of procedure, incorporation, or any of the restrictions of artistic secret societies, Salons, clubs or cliques
81:. The public sought out news and images of the West because it represented a land of hope in an otherwise bleak time. They were increasingly attracted to the work of such photographers as
77:, and people were seeking some respite from their everyday hardships. The American West was seen as the base for future economic recovery because of massive public works projects like the
225:—were invited to join the exhibition, each contributing four photographs. Edward Weston's prints were priced at $ 15 each; all of the others were $ 10 each. The show ran for six weeks.
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was more than a club of artists; they described themselves as engaged in a battle against a "tide of oppressive pictorialism" and purposely called their defining proclamation a
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magazine that said "The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul
Edwards, Imogene [
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There is some difference of opinion about how the group was named. Van Dyke recalled that he first suggested the name "US 256", which was then the commonly used
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show with Edward Weston, Imogen
Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger."
73:
The late 1920s and early 1930s were a time of substantial social and economic uncertainty in the United States. The United States was suffering through the
169:"as our way of thumbing our nose at the New York people who didn't know us", a direct reference to Stieglitz and his earlier New York gallery called
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246:] Kanaga and several others." While this announcement implies that all of the photographers in the first exhibition were "members" of Group
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by the end of 1935. Many of its members continued to photograph and are now known as some of the most influential artists of the 20th century.
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and others as the highest form of photographic art. That began to change in the early 1920s with a new generation of photographers like
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499:. There are no detailed lists of the photos in those shows, so it has been impossible to say exactly which images were exhibited.
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175:. Van Dyke's home/gallery became a gathering place for a close circle of photographers that eventually became the core of Group
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stop on a camera lens. According to Van Dyke, Adams thought the name would be confusing to the public, and Adams suggested "
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253:, not all of the individuals considered themselves as such. In an interview later in her life, Kanaga said "I was in that
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After their initial show in 1932, records indicate that some or all of the photographs from that show were exhibited in
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methods that were still in fashion at the time in
California (even though they had long since died away in New York).
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opened to large crowds. The group members in the exhibition were Ansel Adams (10 photographs), Imogen Cunningham,
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photographic style that had dominated much of the early 20th century, but moreover, they wanted to promote a new
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Santa Barbara to be with his son and Van Dyke who moved to New York) led to the dissolution of Group
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emotional, achieved without departure from the simplest aspects of straight photographic procedure.
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that are reminiscent of a period and culture antedating the growth of the medium itself.
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aesthetic that was based on precisely exposed images of natural forms and found objects.
209:, Willard Van Dyke, and Edward Weston (nine photographs each). Four other photographers—
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Das Leben der toten Dinge - Studien zur modernen Sachfotografie in den USA 1914–1935
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Original Sources: Art and Archives at the Center for Creative Photography
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Peeler, David (2002). "Group f/64". In Rule, Amy; Solomon, Nancy (eds.).
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increasingly used in action and reportage photography in the 1930s.
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The Timeline of the History of Art, The Metropolitan Museum of Art.
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629:. Vol. II (3rd ed.). Bedford/St. Martin's. p. 610.
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Archery at the 1904 Summer Olympics – Men's double American round
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109:
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Morse, Helen (June 1978). "Willard Van Dyke: A Portfolio".
752:"Exposures: The History of American Landscape Photography"
126:, with all the political overtones that the name implies.
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Winter Sunrise, Sierra Nevada, from Lone Pine, California
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displayed the following manifesto at their 1932 exhibit:
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Arts organizations based in the San Francisco Bay Area
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307:", which was a corresponding aperture setting in the
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reported that in 1949 she was invited to join Group
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Ansel Adams, America's Saint George of Conservation
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Seeing Straight: The f.64 Revolution in Photography
517:The most complete collections of prints from Group
50:was a group founded by seven American 20th-century
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841:, 2 Bände, Stuttgart/Germany: Art in Life 1999,
899:Lodgepole Pines, Lyell Fork of the Merced River
351:The even sharpness corresponds to the ideal of
185:In 1931, Weston was given an exhibition at the
1055:Ansel Adams Award for Conservation Photography
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938:Evening, McDonald Lake, Glacier National Park
915:Clearing Winter Storm, Yosemite National Park
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716:. Oakland Museum. pp. 20–24, back cover.
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585:. New York: Harper & Row. pp. 1–13.
355:which the group espoused in response to the
731:. New York: Viking Press. pp. 158–160.
554:Seizing the Light: A History of Photography
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1060:Ansel Adams Award (The Wilderness Society)
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89:... of inspiration and redemptive power."
778:. Bloomsbury Publishing USA. p. 74.
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581:America's Greatest Depression, 1929–1941
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729:Recollections: Ten Women of Photography
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627:The American Promise: A Compact History
597:"Great Depression in the United States"
33:trees with snow on branches, April 1933
1294:American artist groups and collectives
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446:In 1933 Adams wrote the following for
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240:] Cunningham, Consuela [
228:In 1934 the group posted a notice in
1309:Organizations based in San Francisco
981:Parmelian Prints of the High Sierras
524:photographers are now housed at the
16:1932–1935 American photography group
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1299:American photography organizations
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625:Roark, James; et al. (2007).
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530:San Francisco Museum of Modern Art
469:... Our motive is not to impose a
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556:. McGraw-Hill. pp. 245–246.
263:Some photo historians view Group
161:was created when Ansel Adams and
93:activities. Shortly before Group
727:Mitchell, Margaretta K. (1979).
577:Chandler, Lester Vernon (1970).
1048:Ansel Adams: A Documentary Film
930:Moonrise, Hernandez, New Mexico
907:Monolith, the Face of Half Dome
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663:Center for Creative Photography
526:Center for Creative Photography
108:, which was founded to support
1130:Steel: Armco, Middletown, Ohio
946:The Tetons and the Snake River
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1:
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772:Alinder, Mary Street (2014).
712:Heyman, Therese Thau (1992).
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296:designation for a very small
187:M.H. de Young Memorial Museum
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822:by Peter Barr, November 2000
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1186:Nude (Charis, Santa Monica)
962:Aspens, Northern New Mexico
502:By 1934 the effects of the
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314:soon changed it to "Group
221:, and Edward Weston's son
150:Formation and participants
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754:. Youtube.com. 2007-01-26
104:went to a meeting of the
31:, Apple Orchard, Yosemite
837:* Franz-Xaver Schlegel,
775:Ansel Adams: A Biography
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1071:The Land of Little Rain
552:Hirsch, Robert (2000).
454:My conception of Group
1065:Ansel Adams Wilderness
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432:Photography historian
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339:, which secures great
52:San Francisco Bay Area
34:
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408:The members of Group
394:metier of the Group.
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353:straight photography
273:Dody Weston Thompson
1012:Born Free and Equal
665:. pp. 107–110.
337:large format camera
1005:Mary Hunter Austin
331:refers to a small
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636:978-0-312-44842-4
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1209:Cole Weston
1122:Photographs
1030:Zone System
1000:Taos Pueblo
923: 1937
891:Photographs
884:Ansel Adams
485:Los Angeles
207:Henry Swift
140:Paul Strand
83:Ansel Adams
24:Ansel Adams
1288:Categories
1214:Kim Weston
1162:Two Shells
973:Portfolios
791:2020-01-11
758:2013-01-15
611:2009-02-17
450:magazine:
428:Aesthetics
418:aesthetics
79:Hoover Dam
69:Background
684:(2): 1–2.
363:Manifesto
324:The term
123:manifesto
63:modernist
29:Half Dome
1154:Nautilus
1146:Nude (2)
745:and the
528:and the
345:exposure
333:aperture
298:aperture
1254:Related
1023:Related
803:Sources
601:Encarta
489:Seattle
479:History
110:Marxist
1261:Group
1223:Models
1197:Family
1189:(1936)
1181:(1931)
1173:(1930)
1165:(1927)
1157:(1927)
1149:(1925)
1141:(1925)
1133:(1922)
1051:(2002)
1035:Group
1015:(1944)
984:(1927)
965:(1958)
957:(1944)
949:(1942)
941:(1942)
933:(1941)
910:(1927)
902:(1921)
845:
826:Group
809:Group
782:
633:
560:
497:Carmel
471:school
467:
463:
397:Group
386:Group
367:Group
190:Group
154:Group
87:
38:Group
992:Books
678:Image
536:Notes
1138:Nude
843:ISBN
780:ISBN
631:ISBN
558:ISBN
495:and
142:and
48:f.64
831:/64
814:/64
522:/64
512:/64
459:/64
441:/64
413:/64
402:/64
391:/64
372:/64
329:/64
321:".
319:/64
305:/64
280:/64
268:/64
258:/64
251:/64
243:sic
237:sic
195:/64
180:/64
172:291
167:683
159:/64
118:/64
98:/64
46:or
43:/64
1290::
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920:c.
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544:^
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