{"id":"f64","no":347,"name":"Group f/64","ja":"グループf/64","era":"1932–1935","family":"写真運動","kind":"スタイル","collection":"Dictionary expansion 19","addedAt":"2026-08-18","source":{"title":"Center for Creative Photography","url":"https://ccp.arizona.edu/"},"reference":{"status":"verified","pageUrl":"https://ccp.arizona.edu/","credit":"Center for Creative Photography","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Adams%20The%20Tetons%20and%20the%20Snake%20River.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Adams%20The%20Tetons%20and%20the%20Snake%20River.jpg","credit":"アダムス『ティトン山脈とスネーク川』1942 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Ansel-adams-monolith-the-face-of-half-dome%20-%20edit1.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Ansel-adams-monolith-the-face-of-half-dome%20-%20edit1.jpg","credit":"Ansel Adams《モノリス、ハーフドームの顔》— Wikimedia Commons / Public domain"}]},"essence":"ウェストンとアダムスらが絞りf/64の隅々まで鋭い描写を旗印にした、ストレート写真の宣言。ピクトリアリズムの霞を拒否し、大判の精密と豊かな階調そのものを写真の美とした。","cues":["全面パンフォーカス","大判カメラの精密","豊かなグレースケール","操作を拒む直接性"],"intents":["信頼","静けさ","技術"],"works":["陶器や工具のように、造形そのものを見せたい製品撮影","大判で撮る風景作品で、階調の幅を主題に据えるとき"],"recipe":{"type":"題名は対象名と場所に留め、詩的な言い回しを避ける","layout":"対象を画面いっぱいに置き、背景を無地に落とす","material":"最小絞りで前後とも合わせ、黒と白の両端を残す"},"avoid":"隅々まで合わせることが目的化し、どの形を見せたいのか決まらないまま、情報量だけ多い平板な画になる。","colors":["#eaeaea","#434343","#0a0a0a"],"motif":"photo","pair":["pictorialism","new-objectivity-photography"],"study":["エドワード・ウェストン","アンセル・アダムスのゾーンシステム","イモジェン・カニンガム"],"en":{"essence":"A manifesto for straight photography from Weston, Adams and their circle, who took as their banner the edge-to-edge sharpness of an aperture stopped to f/64. Rejecting the haze of Pictorialism, they held that large-format precision and full tonal range were themselves the beauty of a photograph.","cues":["All-over deep focus","Large-format precision","A rich grayscale","Directness refusing manipulation"],"works":["Product photography of objects whose form is the point, like pottery and tools","Large-format landscape work where tonal range is itself the subject"],"recipe":{"type":"Titles name the object and the place, nothing poetic","layout":"Fill the frame with the object and drop the ground to plain","material":"Smallest aperture front to back, both ends of the scale held"},"avoid":"Sharpness everywhere becomes the goal in itself, and the picture fills with detail without ever deciding which form the viewer is meant to see.","study":["Edward Weston","Ansel Adams's zone system","Imogen Cunningham"]},"links":{"page":"https://indexstyle.org/styles/f64","json":"https://indexstyle.org/api/styles/f64","designSpec":"https://indexstyle.org/styles/f64/design.md","imagePrompt":"https://indexstyle.org/styles/f64/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}