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00:04:20
00:06:33
00:04:20

Transcription: [00:04:20]
{SPEAKER name="ANSEL ADAMS"}
I can give you one example - a strange situation. Now the, Polaroid people - I've been a consultant there for a long time,

[00:04:29]
it's remarkable what they put out. Most of the work that they're really interested in, I'm not. I mean, they're interested in the diary.

{SPEAKER name="JAN BUTTERFIELD"}
Mmm, mm-hmm [[affirmative]]

[00:04:35]
{SPEAKER name="ANSEL ADAMS"}
They put out the SX70 camera, which is a miracle. I mean, this whole process, it, it's unbelievable. I don't like the colours, it's too, far too short range -- I'm not happy with it --

[00:04:45]
{SPEAKER name="JAN BUTTERFIELD"}
-- But you're talking from another --

{SPEAKER name="ANSEL ADAMS"}
Yeah. But, along comes this young man named [[Ronan?]] [[Blocks]] who was in our workshops. And he does the SX70. Then he, he edits it, he takes a tool like cherry wood fingers. Like a manicure, soft wood and he outlines certain things that shape the body and the face and object -

[00:05:13]
- and then he puts it in the toaster for 5 seconds and the mylar separates. And it comes out as if it's ceramic tile.

{SPEAKER name="JAN BUTTERFIELD"}
How extraordinary!

{SPEAKER name="ANSEL ADAMS"}
It's absolutely unique. Fabulously beautiful. [[garbled]]

[00:05:27]
{SPEAKER name="JAN BUTTERFIELD"}
Isn't that interesting!

{SPEAKER name="ANSEL ADAMS"}
It's unbelievable. So here's somebody who takes a process and does - it's been done by others, but never with such good taste and stuff so now those people in New York have done it and then they got it dirty, you know.

[00:05:40]
I love the nude and I love the daring and I love the explicit and all that, but I don't like things that are dirty. And we, it just gets to the point where you want to open the windows.

{SPEAKER name="JAN BUTTERFIELD"}
Exactly.

[00:05:51]
{SPEAKER name="ANSEL ADAMS"}
It's got nothing to do with the quality of the work--

{SPEAKER name="JAN BUTTERFIELD"}
What kept you in California?

{SPEAKER name="ANSEL ADAMS"}
Hm?

{SPEAKER name="JAN BUTTERFIELD"}
What kept you in California?

[00:05:56]
{SPEAKER name="ANSEL ADAMS"}
Oh, it was the home. And Yosemite.

{SPEAKER name="JAN BUTTERFIELD"}
It's always been-- [[cross]]

[00:06:02]
{SPEAKER name="ANSEL ADAMS"}
I thought one time quite - the muse it [[music?]], I had to go sooner or later.

[00:06:07]
And I went there first in 1933 and really wasn't very happy there. I mean, I met some wonderful people.

{SPEAKER name="JAN BUTTERFIELD"}
Californians never are.

[00:06:16]
{SPEAKER name="ANSEL ADAMS"}
Then of course went back to the new halls and we set up an appointment with the Museum of Modern Art.

[00:06:22]
{SPEAKER name="JAN BUTTERFIELD"}
Yes, exactly.

{SPEAKER name="ANSEL ADAMS"}
[[?]] I was always trying to get back here. I was a terrible father. I had a couple of kids. Virginia did all the familial jobs.


Transcription Notes:
Have not been able to find the name of the young man Adams refers to at around 04:45. Someone with more experience in Polaroid SX70's might know what Adams says at around 05:13 when he discusses something in the photograph separating? --> I think it's 'mylar' Not sure if "California is narrow art" is the right transcription at 06:02 --> perhaps 'Californians never are'

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