The question of whether Ansel Adams, the iconic master of black and white photography, would have embraced digital photography has been a recurring topic of discussion among photographers and enthusiasts online. Many believe he would have appreciated the capabilities of digital imaging and High Dynamic Range (HDR) techniques. As someone who worked as Ansel Adams’ full-time photographic assistant in Carmel from 1974 to 1979, and maintained close ties with him until his passing in 1984, I offer my perspective on this intriguing hypothetical scenario, particularly considering his potential interest in what we might now call “Ansel Scan Tools” – the digital technologies for image capture and manipulation.
To understand how Ansel Adams might have approached today’s digital technology, especially tools for scanning and image processing, it’s crucial to consider his inherent nature and his lifelong fascination with both technology and the art of photography.
Ansel Adams working on a word processor, demonstrating his early adoption of technology
Ansel Adams was always captivated by science and technology from a young age. However, he was a classicist at heart, not swayed by fleeting trends. He wasn’t interested in fads or technology for its own sake. For instance, he showed little interest in motion pictures, except for Polaroid’s brief venture into instant movies with Polavision, and that was only because of his connection to Polaroid. When Polavision failed, his interest in VCRs and similar technologies remained minimal.
Interestingly, he acquired his first television relatively late in life, around 80 years old. His personal engagement with the burgeoning computer age began in the early 1980s when he started using an IBM word processor to write his autobiography. Even in his photography equipment choices, Ansel wasn’t driven by having the newest or most extravagant gear. While Hasselblad provided him with a new 500C camera and lenses, much of his large format equipment was a collection of older, often used pieces that effectively served his artistic vision. This pragmatic approach suggests he would evaluate “ansel scan tools” – or digital photography tools in general – based on their practical utility and ability to enhance his work, rather than just embracing them for novelty.
During the 1980s, as digital technology began its transition from laboratories to practical applications, Ansel Adams expressed considerable enthusiasm for the improved reproduction quality that scanning technology brought to his book publications. I believe he would have been amazed by the capabilities of Photoshop and similar image editing software, essentially modern “ansel scan tools” for digital manipulation. However, his primary interest, I suspect, would have been in using these tools to restore and repair his extensive archive of film negatives. He had numerous images with imperfections, such as those from Alaska where mosquitoes had found their way into his 8×10 film holders, leaving silhouettes on the negatives. Furthermore, a significant number of films were damaged in the darkroom fire of 1937. “Ansel scan tools” like Photoshop would have offered him a way to digitally address these issues and preserve his life’s work.
Color photography held less appeal for Ansel. His color work was mainly done for Kodak assignments or testing films for Polaroid. Therefore, the initial excitement surrounding color pixels in digital photography might not have resonated deeply with him. His passion was primarily in the nuanced tones and textures of black and white imagery.
Moreover, I believe Ansel might have considered the early digital capture technology as still somewhat inferior to what he could achieve with film. While he would likely own a digital camera of some kind and appreciate its immediacy, he might view it as a technology still under development. He might use it for certain types of photography, such as portraiture, but I can imagine him leaving it behind in his car if he encountered a scene reminiscent of his iconic Moonrise, Hernandez or Clearing Winter Storm, preferring the depth and tonal range captured by film.
A single exposure on black and white negative film possesses a significantly greater dynamic range than contemporary digital sensors, even with advancements in “ansel scan tools” for digital capture. While HDR techniques can bridge this gap, they involve additional technical steps and lack the immediate satisfaction of holding a freshly developed sheet of 8×10 or 4×5 film. Furthermore, the long-term permanence of digital images was, and to some extent still is, a concern compared to the archival qualities of film.
In conclusion, I believe Ansel Adams would have been fascinated by scanning and Photoshop – the “ansel scan tools” of today. He would have owned a digital camera and utilized its speed and convenience. However, he would likely still favor the aesthetic qualities of a silver gelatin print over inkjet prints, a preference I personally share, which inherently ties back to film. He would have closely monitored the progress of digital technology and been open to incorporating it into his workflow if and when it fully met his exacting creative standards. His adoption of “ansel scan tools” would have been driven by a desire to enhance his artistic expression and preserve his photographic legacy, always with a discerning eye towards quality and permanence.
