Adams became interested in documenting how the western landscapes of North America, once captured by the likes of Timothy O'sulivan and William Henry Jackson, had been shaped by human influence. As part of the
New Toporgaphic in the 1970s, Adams approach to photographing these landscapes was to take a stance of apparent neutrality, refraining from any obvious judgments of the subject matter. His images are titled as documents, to establish his neutral position. In the words of john szarsoski Adams...
"has, without actually lying, discovered in these dumb and artless agglomerations of boring buildings the suggestion of redeeming virtue." Adams's recent essays in
Why People Photograph and
Beauty in Photography make strong arguments for conservative and human approaches to making photography, writing clear criticism about photography, and the importance of encouraging responsible stewardship of the land.
For about five years, beginning in 1974, Adams embarked on an experiment: he made a series of photographs at night—the opposite of the high-altitude daylight used in most of his previous photographs. The project brought an element of risk he had not experienced before. Passing motorists sometimes veered toward him on rural roadsides, and in urban centers police repeatedly questioned him about his activities. For about five years, beginning in 1974, Adams embarked on an experiment: he made a series of photographs at night—the opposite of the high-altitude daylight used in most of his previous photographs. The project brought an element of risk he had not experienced before. Passing motorists sometimes veered toward him on rural roadsides, and in urban centers police repeatedly questioned him about his activities.
