Most importantly, since his art/profession was such a major part of his life, would be a review of Adams' approach to photography. Even the decision leading to that choice of vocation was one of a clear-headed look to the future. As a teenager, Adams exhibited substantial talent as a pianist, and was urged by many to pursue a musical career. However, he recognized that while he did show promise and could probably earn a living at the keyboard, he would only do so through intense practice and work indoors, and even then probably never reaching true excellence as a professional concert performer. His choice between the performing and visual arts to follow photography was conscious and planned.
In his own photography, Adams strove for control of his future through control of the artistic image. He invented the Zone* System, a method of measuring and planning the tonal qualities of a photograph via careful exposure and developing procedures. Prior to this system, judgement of these factors had been primarily intuitive on the part of the picture maker and left to the vagaries of the optical and chemical processes. By quantifying the shades of gray, and through experimentation, by knowing the exposure and development times to attain them, Adams was finally able to foresee the final image in the field. This "pre-visualization*" allowed him to look to the future of the print in the darkroom and plan the steps necessary to attain his goal.
He also saw the act of photography as an active creative function that requires the input and planning of the artist*. In this attitude is the correlation of future goals with direction and understanding of impact to guide action.
Beyond the technical and political contributions to his art, Adams also served as a teacher* through his writings and workshops.
Looking for even further control over his art, Adams was not one to stagnate in old technology*. His inquisitive mind led him to working with the scientists and technologists of his day.
