Group F.64:

Pure Photography of the 21st Century

Cecelia Rooney Master of Arts in Graphic Design Maryland Institute College of Art May 2021 Edward Weston Edward Front Cover: Cecelia Rooney Front Cecelia Rooney “A photographisthe pause buttononlife.” Ty Holland

Cecelia Rooney Table of Contents 01 Introduction 02 Problem Definition 03 Research 04 Design Process 05 Final Products 06 Conclusions & Further Research 07 Works Cited 08 Acknowledgments Edward Weston

Bill Cunningham Alma Lavenson

Consuelo Kanaga Sonya Noskowiak Introduction

“You don't have to sort of enhance reality. There is nothing stranger than truth.” Annie Leibovitz RaMell Ross Telling stories through the camera how they present themselves to the has become a passion. I love world. Gender, sexuality, ethnicity, finding the authentic moments of educational, socioeconomic, raw human experience through cultural, and so many other factors observation, recording reality in contribute to how one is identified. a way my eyes cannot. Whether These are represented in how through facial expression, we dress, wear our hair, speak, clothing, body positioning, or what we eat, or any other outward taking the subject in as a piece of symbol claiming our individuality. their surroundings, there are so Photography is the chance to capture many ways to tell their story. not only these symbols, but the environment that showcases and In my undergraduate studies at honors the pieces that join together St. Lawrence University, I studied to make up our jigsaw identities. Sociology. At the time I did not comprehend how this field would I share this to give context as to assist me in future, but it has given why I chose Group F.64 for a thesis me the ability to look at people project. I have been fascinated in a deeper sense. We experience with photography and how people others through their identity, in represent themselves, but how can

1 Introduction I find a deeper purpose there? I had never stopped to consider present our true selves to the world. I met with Tony Venne, Head that what I like could be valuable Popular apps like Face Tune and of Design at The Walters Art in and of itself. This got me the rise of Photoshop were created Museum in Baltimore, MD. At thinking. I began researching to bring major editing and image this point, I had been through photography exhibitions, finding manipulation to the masses solely 3 ideas and was struggling. He out about photographers who were to make images look better. How asked me a simple question; breaking the mold of photography can we see the truth in photography at the time, and eventually wound if every image is manipulated in up investigating Group F.64. post production? By revitalizing “What do this group, I hope to continue the Group F.64’s mission was to create conversation both on and off ine you like?” a space in the serious art world for for photographers and artists alike pure photography, meaning non to discuss the importance of truth manipulated images. In today’s in art. If photographs are used as world, we can be almost certain references and documentation, any image we see Online, in an how can they be pillars of truth advertisement, or on social media when it so often does not reflect has been edited in some way unless reality? I want to bring integrity explicitly stated. Today it is "brave" back to photography, and carry to not edit a photograph and on the work Group F.64 began.

2 “You don’t take a photograph, you make it.” Ansel Adams Renata Romeo Abstract

Group F.64 began in 1932 as an elite Group F.64 brings the original photography group created on the mission into the 21st century by foundation of a shared photographic challenging its members to reject style; sharp, clear images. The digital manipulation of images to style was achieved using the f.64 create false reality in photography, setting on SLR cameras, a small specifi cally in social media. aperture that brought everything visible to the camera into focus, The new era of F.64 is split thus inspiring the group name. The into 3 categories: The Human group originated in opposition to Experience (portrait and street the pictorialist photography style photography), Making Statements popular at the time, one in which (photojournalism, documentary, the photographer manipulates the political statement photography), photo rather than just recording and Redefi ning Landscapes what is in fr ont of them. Group F.64 (moving beyond perfect nature aimed to prove photography as an art landscape to look at human habitat form, and photographers as artists as a landscape). Each section of rather than machine operators. the overall exhibit includes its own material and signage. The Future exploration for this group book, created for the exhibition, will be to create a digital presence refl ects the overall shift in and connect with social media. photography for Group F.64.

6 Introduction Ansel Adams Problem Defi nition

“Photography can put a human face on a situation … It is a way to remember history and to try not to relive the mistakes of the past.” James Nachtwey Robert Cohen Problem Definition

In the early 20th century, photography was After initial exhibitions at M. H. de Young not considered a high art form. Photographers Memorial Museum in San Francisco, CA in were closer to equipment operators than to the early 1930's, there was little activity with artists in the art world, and any photography the group. The work of this group was the that was considered art fell into the catalyst of photography becoming its own Pictorialist style, meaning the images were art form and honoring the camera’s ability highly manipulated, blurry, and closer to to capture life sharply and authentically. resembling paintings or an idealized view of However, what does this mean in the 21st the world. A group of like-minded “straight” century? Since Group F.64’s creation, photographers, meaning to capture the photography has become accessible to everyone world as it appears to the camera with little in our back pockets with a smart phone. Even to no manipulation, got together and created with this growth, social media and advertising Group F.64. In the words of a founding have continued to modify photography, member, Ansel Adams, Group F.64 was “an changing the integrity of the image and organization of serious photographers without altering reality. Apps like Face Tune, Snapchat, formal ritual of procedure, incorporation, and filters on Instagram encourage changing or any of the limiting restrictions of artistic one’s body and features to build a more secret societies, Salons, clubs or cliques.” desired outcome and display an altered reality Online. In an effort to combat this, bringing back the mission of Group F.64 would have a new purpose today. The pure photography mentality of capturing the world as we see it, and truth not needing to be changed gives Group F.64 a place in the modern world.

10 This project is not...

A judgment or critique of photography that utilizes heavy digital manipulation

A comment on social media.

A biographical study of the founding members of Group F.64 in 1932. RaMell Ross

11 Antecedents

Many modern day photographers pure photography in his project, continue to pursue pure photography Humans of New York. Stanton in the sense that photography created a Facebook page to post captures the truth of life. In the portraits of everyday people in 1930's it was uncommon to view New York City with a caption photographs of everyday life, not about the subject's story. Topics identifying day to day activities, as range from humorous to serious, a valuable subject of art. However, light hearted to heavy, or simple modern photographers continue to complex. He expresses the true to challenge what is considered human experience in his quantity art by finding the beautiful in of stories by not attempting to the mundane. Bill Cunningham dictate the subjects. Stanton's work practices pure photography in his finds beauty in all parts of life. focus on capturing the street life of New York City. His photos have become famous for observation of fashion as an art form off he runway. Brandon Stanton continues

12 Problem Definition Above: Bill Cunningham Left: Brandon Stanton posts on Facebook page, "Humans of New York"

13 Precedents

Curating a photographic exhibition is a very physical process. However, I conducted this project in the midst of a global pandemic, so I had to fi nd photographs through digital archives. The International Center of Photography (ICP), Museum of Modern Art (MoMA), and The Metropolitan Museum of Art (The MET) were wonderful examples of digitally displaying photography. They utilized clean structures with little distraction to give the photos room to breathe and shine. I referred to these styles as I created the visual direction for a Group F.64 exhibition.

14 Problem Defi nition MoMA Online archive of past photography exhibitions.

The MET Online exhibition of Group F.64

International Center of Photography (ICP) Online archive

15 Research

“Actually, it’s nature itself that creates the most beautiful pictures, I’m only choosing the perspective.” Katja Michael Richard Choi Research

A thesis project is the exploration of many sub- problems within one category. In this project, the sub- problems lead to new ideas that gave me my final concept. I went through a variety of concepts, but all were necessary to end up with reviving Group F.64. In a conversation with my professor recently, she shared that it was a challenge on whether or not to support the pivot within my project. She said "it takes courage to do a 180 flip", and in this case it worked.

18 19 Bill Cunningham Train of Thought

Initially, I was I did research This had me wanting Taking this egalitarian

interested in about how in art to challenge the way we mindset, I looked to fi nd

˜ ˜ exploring a new way history identity has ˜ view art and art history, ways to make art more to create portraits. I been represented, wanting to decode past accessible, but needed to wanted to represent understanding pieces of art so the redefi ne what art history the factors of one’s symbolism applied symbolism of items meant, trying to steer identity without to objects. within art was not only away fr om the Western showing their faces. understood by the elite. Renaissance paintings stereotype of art history. ˜

What kind of I wanted to explore ways I began to explore exhibits would I to make museums more art fr om around the like to look into? engaging for a direct world and in history, ˜ ˜ What do I like? audience of older Gen X how symbolism is used I am interested or young Millennial's, to represent identity photography. What rethinking how in diff erent ways and else can I look learning happens how cultural and time into with that? in museums. periods aff ect art.

20 Research 21 Original Members of Group F.64

Ansel Adams Imogen Cunningham John Paul Edwards Sonya Noskowiak Henry Swift Willard Van Dyke Edward Weston

Photographers invited to display their work with Group F.6˜

Preston Holder Consuelo Kanaga Alma Lavenson Brett Weston

22 Research Left: Original poster ad for F.64 exhibitions. Right: Original manifesto with editing by Ansel Adams.

23 Microvisual Statement

In exploring photography from to express the beauty of nature. the original F.64 members, there This microvisual statement is a was a major focus on landscapes as collection of landscape photography an example of pure photography. from the original members of Ansel Adams, Alma Lavenson, and F.64. In the organization of these Sonya Noskowiak took a natural images, it is clear the definition landscape and composed it through of a landscape at the time was very their cameras. In exploring the literal; photographing nature group's early photography, it clearly, admiring nature and the became clear landscapes were beauty of the earth. The catalyst for both the blessing and curse of my project was to explore how the the pure photography movement. concept of landscape photography Some view landscapes as simply has evolved to include the human documenting what is in front of landscape or a smaller scale setting. them, not always able to capture the beauty felt in person. Or, landscape photography showed the magic of a photographer behind a camera in composing a beautiful image

24 Research Ansel Adams Ansel Adams Edward Weston

Alma Lavenson Ansel Adams

Alma Lavenson Sonya Noskowiak 25 Design Process

“A camera is a tool for learning how to see without a camera. The visual life is an enormous undertaking, practically unattainable. . . I have only touched it with this wonderful democratic instrument, the camera .” Dorthea Lange Edward Weston Design Process

The design process, similar to the conceptual process, was a collection of ideas that built upon one another. In the design process, I needed to create a brand system for the revival of Group F.64 that honors the previous generation while showing movement into the 21st century. I explored typography, color, and ended with a dynamic and flexible system that allowed for change as photography changes.

28 Stanley Wolukau-Wanambwa 29 Vanessa Winship Type Exploration

Creating a brand for a photography group, I needed a simple yet bold system, suitable for the varying topics of photography that this group would showcase. This led to a typographic heavy system to not distract fr om the photographs but to connect them with a greater mission and purpose as a part of Group F.64.

I tried many diff erent fonts to establish mood. There were elegant serifs, modern high contrast serifs, bold sans serifs, and abstract fonts. I also played with placement, eventually choosing the font Gopher for the “F” and placing 64 in the white space of the “F”.

This was an attempt to create an image and typographic icon for the group. However, by adding type to the layout of the photo this takes away from the Right: Typographic mission of the group. exploration process

30 Design Process 31 Color Exploration

Evolving fr om black and white to color photography, I wanted the branding system to incorporate color while not being limiting. With a straightforward type mark that focused on typography, I wanted to create a dynamic and fl exible color system. Color became a part of Group F.64 in photography, and so would it in the branding.

32 Design Process 33 Group Branding

I finally settled on four color systems, each with two contrasting colors for fl xibility with branding. Each color connects to a theme Group F.64 within the photography

of Group F.64. Logo Marks Word F.64

Primary Typeface - Headings Secondary Typeface - Body Gopher Work Sans AaBbCcDdEeFfGgHhIiJjKkLlMm AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz NnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890!?,.’/”@#$%^&*()-_=+[]{}

34 Design Process Making The Human Redefining General Statements Experience Landscape Group F.64

Photojournalism, Portrait and Street Human Habitats, Group branding for documentary, and Photography small scale settings group collectively political statement photography

35 Final Products

“The formula for doing a good job in photography is to think like a poet.” Imogen Cunningham Imogen Cunningham

Imogen Cunningham Updated Manifesto of Group F.64

Group F.64, originating in 1932, to objectively represent reality. was created by Ansel Adams, Edward The role of the photographer is Weston, Imogen Cunningham, as an artist rather than a machine Sonya Noskowiak, Willard Van Dyke, operator; mastered by balancing John Paul Edwards, Henry Swift, technical skill with artistic vision, Alma Lavenson, Conseulo Kanaga, to celebrate rather than disguise Brett Weston, and Preston Holder, the subject. Group F.64 upholds in San Francisco, California. the pursuit of Art-for-Art’s-Sake These pioneer photographers saw in their quest to honor the camera’s the potential of pure photography abilities when in the hands of a to be considered an art form in its photographer with purpose. own right. Pure photography will remain defined in the words of our Group F.64 stands for truth in founders; possessing no qualities photography and honoring the of technique, composition or idea, integrity of photos for what they derivative of any other art form. show, also known as straight Today, Group F.64 adds that pure photography. Straight photography photography is defined as capturing refers to the lack of manipulation the world as the camera sees it, in a photo, whether in the shooting leaning on the camera’s ability or production stage, to show the

38 Final Products subject as the camera sees it. In the through a snapshot of a lens. Group 21st century, Group F.64’s work of F.64 will work to include new straight photography has paved the photographers in exhibitions along way for styles of photography such with Group F.64 mentors (selected as photojournalism, documentary, based on experience, impact, and and street style photography. The commitment to F.64’s mission) message is still relevant today in a who will host events to share culture of Photoshop and Instagram, experiences and educate on technical thus igniting Group F.64’s rebirth skills. While Group F.64 is not into modern photography. Group educationally focused, it is a place F.64 embraces social media and to connect and share knowledge the technology of the 21st century, with other photographers. yet will stay true to its purpose in encouraging pure photography.

The objective of Group F.64 is to create a community that demands pure photography will not be forgotten, countering that a perfect photo cannot simply be created

39 Exhibition

This exhibition of Group F.64 has three rooms for each of the themes of photography. This section, “The Human Experience”, focuses on portraiture and street photography. The rooms would be diff erentiated by their branding and designated color. Exhibition photography highlights new photographers within this subcategory of photography and shows comparisons to photographs fr om the original Group F.64 members. Supplemental materials include brochures of gallery pieces, signage, typographic wall treatments, and a book for purchase diving into Group F.64 as a whole.

40 Final Products

Typographic wall treatment entering "The Human Experience" section of the Group F.64 exhibition. By emphasizing "you", the audience is invited in. The engagement encourages photography to be understood as a still representation of each individual reality.

43

Left: Display sign and brochure for "The Human Experience" section. Right: Signage for "The Human Experience" section. Next page: Gallery wall in exhibition

45 46 47 48 Final Products Left: Brochure of "The Human Experience" section and gallery displays. Right: Book about Group F.64 and their future as a group in the 21st century. Next page: book spread comparing modern photography to the original member photography.

49

Conclusions & Further Directions

“We don’t document for fun, or just because we have powers and cameras. With my team, I have a collective calling; we document all of these atrocities because we want the world to know that we have a situation at hand.”

Zanele Muholi Curran Hatleberg Conclusions & Further Directions

With more time, I would like to with your best idea, but all complete the digital aspects of brainstorms are needed to Group F.64's revival. Additions create your desired outcome. to this project would include a There is no such thing as presence on social media and a bad idea, everything is a advertising opportunities for touch point for growth. like-minded photographers to learn fr om one another and I also learned my point of view regain trust in photography. is valid as a topic. Interest The options are endless for refl ects passion, and initially where Group F.64 can go in the my ideas did not show true 21st century. As long as there interest. I thought I needed to is a desire to keep integrity solve a huge problem, but with in photography, Group that pressure it took away fr om F.64 will remain relevant. the organic creative process. Refocusing on my interests Throughout this process, I allowed for design growth learned about the evolution of and remembering starting a project. You may not start small leads to big ideas.

54 Richard Choi Left: Poster about the impact photography has on climate change. This series is one of many ways for photographers to learn about the mission of F.64 with examples.

56 Conclusions & Further Directions Left: Poster about the impact photography has on politics. This series is one of many ways for photographers to learn about the mission of F.64 with examples.

57 “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself.” Edward Weston Koshi Kunii 60 Acknowledgments

This book is dedicated to Emily Middagh. I will carry your love and passion for all things art with me, and never take myself too seriously.

Thank you to my family; Mom, Dad, Cate, & Tree. I could not have completed this program without your support or enthusiasm. Thank you for reminding me I do have ideas.

Thank you to Sandie, Brockett, and all MICA faculty on the GDMA team for your ability to create a strong community, even through zoom.

To the MICA GDMA Class of 2021, Design: Cece Rooney your kindness and support overflowed www.cecerooney.com from the computer. I am honored Printed by Blurb.com on Mohawk proPhoto Pearl to have learned so much from each Fonts used: of you. You made this all worth it. Helvetica Mrs Eaves Sans Mr Eaves Sans

61 Bibliography

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62 Photography Sources

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63 “As artists, the work is not really ours. It's the people's work. It is the world's work.” Devin Allen Cecelia Rooney

What do you see?