Editing Ansel Adams (section)

====Pictorialism====
[[File:Lodgepole Pines photo by Ansel Adams.jpg|thumb|right|''[[Lodgepole Pines, Lyell Fork of the Merced River]], Yosemite National Park'' (1921)<ref>{{cite web | title = Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park | url = https://www.metmuseum.org/art/collection/search/262583 | website = The Met | publisher = The Metropolitan Museum of Art | access-date = March 5, 2019 | archive-date = March 6, 2019 | archive-url = https://web.archive.org/web/20190306044636/https://www.metmuseum.org/art/collection/search/262583 | url-status = live }}</ref>]]

Adams's first photographs were published in 1921, and Best's Studio began selling his Yosemite prints the next year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he wrote of having dared to climb to the best viewpoints and to brave the worst elements.{{Sfn |Alinder|Stillman|Adams|Stegner|1988|p=3}}

During the mid-1920s, the fashion in photography was [[pictorialism]], which strove to imitate paintings with soft focus, diffused light, and other techniques.{{Sfn |Alinder|1996| p=32}} Adams experimented with such techniques, as well as the [[Oil print process#Bromoil process|bromoil process]], which involved brushing an oily ink onto the paper.{{Sfn |Alinder|1996| p=33}} An example is ''[[Lodgepole Pines, Lyell Fork of the Merced River]], Yosemite National Park'' (originally named ''Tamarack Pine''), taken in 1921. Adams used a soft-focus lens, "capturing a glowing luminosity that captured the mood of a magical summer afternoon".{{sfn|Alinder|1996|loc=Chapter 4}}

For a short time Adams used hand-coloring, but declared in 1923 that he would do this no longer.{{Sfn |Alinder|1996| pp=34–35}} By 1925 he had rejected pictorialism altogether for a more realistic approach that relied on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.{{Sfn |Alinder|1996| pp = 38–42}}
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