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  C O N T E N T S

 >  Introduction

 1. Tangier

 2. Influences

 3. Smithsonian
     Series

 4. Blood Strains

 5. Solutions

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  A D A M S'
  PHOTOGRAPHY:


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  C l i c k  h e r e  f o r
 
   P r i n t a b l e
     V e r s i o n.


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Black and
White and
Color

AN INTERVIEW WITH
PHOTOGRAPHER DIANA ADAMS


> Introduction

Photographer Diana Adams is a seeker of identities. Urban. Foreign. Temporal. Natural. Her best work has the power to transfix and transport. For her fifteen years of professional photography, she has become an area treasure. This status was confirmed once again last year when Washingtonian magazine listed Adams as one of the "Top Photographers" in Washington. Now, it seems she is on everyone's list; e-mails pop up avidly recommending her, and the phone at Studio Diana doesn't stop ringing.

Increasingly, Adams has set more time aside from professional activities in the pursuit of fine art photography. The results offset any sacrifices, and also serve to remind one that many an acclaimed artist was first an accomplished journeyman firmly rooted in craft.

Last year the second installment of a collection of works entitled Main Street, USA was shown in Fairfax, Virginia. Two more bodies of work are nearing completion: The Smithsonian Series and Blood Strains. Drift is doubly honored to have Ms. Adams as a guest for our premier offering, and to have a selection of her photographs shown here for the first time as well.

If you suggest to Adams that she captured the essence of someone or something, she will shake her head in disagreement. She will then tell you neither she, nor anyone else, captures any subject finally. In reality, the photographer only obtains a fragment of the subject in a brief interval of time.

In fact, Adams is very conscious of time and the myriad ways it is depicted through space. A certain use of space in a photograph will make the sense of time more elastic. A certain angle will suggest time is either abundant or scarce, elongated or abbreviated. In essence, time is either savored or rejected through space. Adams tells me it is one of the many issues a good photographer thinks about while working.

These conversations took place at Studio Diana over a few days in February 2000. I want to personally thank Ms. Adams for the generosity with her time, support, and photographs.


--
JLT


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