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“The Cal Marching Band Pre-Football Game Parade” (1966), Ansel Adams

GRACIELA S. SILVA |

Ansel Adams es reconocido en la historia de la fotografía por sus imágenes paisajísticas y por el sistema de zonas con el que teorizó sobre la captura de imágenes en blanco y negro. Oriundo de San Francisco, California, el artista encontró inspiración en el trabajo de su compatriota Paul Strand para, a través de su lente, fijar en su obra grandes extensiones naturales de Estados Unidos.

The Cal Marching Band Pre-Football Game Parade” (1966) forma parte de la serie Fiat Lux, realizada en la Universidad de California luego de que, en 1964, el rector de dicha institución comisionara al fotógrafo a hacer un registro iconográfico para celebrar el centenario de existencia del recinto, próximo a llegar.

No es el paisaje citadino lo que aleja la imagen del estilo habitual del fotógrafo, sino la presencia de personas la que crea un abismo enorme con el resto de su obra. Es precisamente por esta característica que fue ampliamente criticado por algunos de sus colegas, Henri Cartier-Bresson entre ellos, quien cuestionó su notoria predilección por los objetos inanimados.

Adams se caracterizó por emplear cámaras de gran formato con las que obtenía tomas que permitían ampliaciones grandes y mucho detalle. Debido a esta elección, sus imágenes tienen una impresionante nitidez, atributo que se suma a la enorme importancia técnica que otorgó a su trabajo.

Aunque la imagen muestra la torre lateral de la Biblioteca Bancroft, en Berkeley, la atención se centra en las tubas que portan los integrantes de la banda, las cuales se sitúan al centro, partiendo la fotografía. Por el título de la imagen conocemos el contexto: un desfile previo al inicio de un partido de futbol americano en la universidad, jugado en el California Memorial Stadium, muy probablemente por el equipo local.

Gracias a la incidencia de la luz y la posición de las manecillas del reloj, podemos deducir que la fotografía se realizó alrededor del mediodía. La gran luminosidad de la hora permitió al fotógrafo emplear un diafragma cerrado para capturar en foco banda y torre simultáneamente.

Los integrantes del grupo llevan los aparatos musicales sin hacerlos sonar, su actitud es apacible. Además del reflejo del sol, en los instrumentos de viento también se muestra el bosque que rodea el lugar; por el ángulo de la toma, la forma pareciera esférica y no convexa.

Los tonos de gris se encuentran perfectamente expuestos, la gama comienza en el brillo del sol que representa al blanco y termina en lo que pareciera ser un puente o un arco, que pierde detalle en el negro.

Ansel Adams demostró que los exposímetros de las cámaras situaban su punto medio en cierto tono de gris (del 18%), con lo que se conseguía la mayor gama tonal posible. De este modo el fotógrafo podía manipular las características para conseguir la imagen deseada. Más que por su obra, el paisajista es recordado por esta aportación cada vez menos empleada.

| RMM | GSS | Luz negra | @Versalisima |

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