[ Photographs ] Adams, Ansel Portfolio entitled "Massachusetts Women's Defense Corps" containing 57 vintage tographs. Silver prints, 9.75 x 13 inches, on the original 14 x 18 inch mounts, with the photographer's "MWDC, Photograph by Ansel Adams"

[ Photographs ] Adams, Ansel Portfolio entitled "Massachusetts Women's Defense Corps" containing 57 vintage tographs. Silver prints, 9.75 x 13 inches, on the original 14 x 18 inch mounts, with the photographer's "MWDC, Photograph by Ansel Adams" handstamp on mount verso. Folio-size crudely handcrafted plywood box, purportedly made by Adams himself. 1942 E30000-40000 An Uncommon Adams Portfolio, With Crisp Dramatic Prints, That Is A Geographical, Pictorial, and Technical Departure From his Signature Landscape Work. According to Adams's biographer, Mary Street Alinder, "With the outbreak of war in 1941, Adams searched to Join the military.. There was great dread of Germany bombing the East Coast, as there were fears on the West Coast of Japanese attack. Women surged into the workforce to keep the country and the vital war machine alive. Groups, such as the Massachusetts Civil Defense Corps, were formed to educate and train women in leadership, first aid, and emergency relief Carolyn Crossett, a student at Adams's 1941 workshop at the Yosemite studio and member of the M. W D. C., suggested that he be hired to chronicle these efforts. The women are seen as professionals, cool, calm and ready for any emergency. It is interesting to note that while our armed forces were segregated, the M. W D. C. had black and white members working side by side. " The photographs depict women in military-style uniforms engaged in civil defense activities in an urban setting, probably Boston. Mile each picture has a surface spontaneity, upon closer inspection it is clear that they were compositionally set-up. Many, for example, are interior studies (made with a large-format view camera), that obviously required artificial lighting. Interestingly Adams had recently codified his Zone System of exposure and exposed each negative to maximum effectiveness. Alinder further notes that "This album of work is very rare. Adams himself had no prints of the M W.D. C. in his possession when he died. " After the war, in 1947, Adams addressed no less an august documentary audience than the Photo League. Philippe Halsman dashed off a letter to Adams chastising him for his comment that he has yet to see a good picture made with a flash. Adams's response to Halsman, on December 8, 1947, the following week was: "I think I am a bit misquoted... Mat I would like to have said was this-that I have seldom seen a flash photograph that seemed to realize the quality of illusion ofrealit the illusions of substance and light. I am usually over-conscious of the impression of the flash itself - of the position of lights, of the strange harsh luminosity and shadow-edge of the "artificial" mood. Being a "natural" light person I am especially sensitive to artificial connotations.... While Adams's preferred mode of picture-making was more towards naturally lit, majestic landscapes, the prints in this portfolio show an accomplished artist at work, both in his expert use of light and awareness of the importance of the M.W.D.C.'s work to preserve order in times of civil distress.