Ansel Adams, with an introduction by John Szarkowski,
The Portfolios of Ansel Adams
Boston: New York Graphic Society, 1977
paperback: Bulfinch, 2006

Adams is probably one of the most important photographers ever, and every photographer at every level needs to be acquainted with his work. This is especially true for anyone who photographs outside. This book, with portfolios from 1932 to 1976, contains a cross-section of his work. A wide variety of other collections of his work are available, and they are all fine (and recommended), but this one is the most diverse and comprehensive.

Diversity and comprehensiveness are keywords for Adams. He photographed just about everything. He also used a variety of techniques. He constantly experimented with new technology. He prompted innovations in the graphic arts so that his photographs could be reproduced better in books. This breadth of vision and experience is, if nothing else, an inspiration. Yet he also wrote about the nature of photography as an art and a science. His thoughts about photography as a form of communication for deeper ideas are important for anyone who wants to do more than just push a button to record something — and might even spur thoughts from anyone whose interests go no further than making a record.

A word of caution: I tend to avoid introductions and books about Adams: the idea is to absorb his pictures and what he has to say about the creative process. When there's something to be said, Adams generally does a fine job of it himself. His technical series, consisting of The Camera, The Negative, The Print, and Polaroid Land Photography, is worthwhile, but requires a lot of work to absorb. His ideas of technical control (the zone system), which are spelled out in those books, are important, but this is one area where his thoughts are sometimes explained better by others.

Revised 17 January 2009; original posted 2004