Later in Life: Minor White Cont.

White then moved to San Francisco where he worked with Ansel Adams who taught White his zone system. It was a method of visualizing how a scene or object will look on the final print once photographed. After Minor had became the director of the photography department of the California School of Fine Arts, he had made a new friend. He started working with Edward Weston. White was influenced by Weston's use of realism and tonal beauty in his photography. White also used some aspects of Zen to help him create mystical interpretations. Finally in 1952 White had moved back to New York City and became the editor of the photography magazine, Aperture that him and his friends had founded.

Minor White: Inspiration and Influences

Minor White became interested with photography at a very young age. He also took up other things like the study of botany, and poetry. He later came back to photography working for the Works Progress Administration in Portland, Oregon. White also served in the United States Army during WWII. After he was finished serving he moved to NYC in 1945 where he befriended inspiring photographers such as Edward Steichen and Alfred Stieglitz. This circle of friends helped him find his own unique style of photography. Steichen helped him learn the expressive potential of the sequence. White also comprehended the idea of the "equivalent,"or a photograph intended to serve at as a visual metaphor. White also showed his work in another way, writing. He thought he could express more moods, and emotions through his writing along with his photography.  White had become a master of the exponent of the sequence and the equivalent.

http://www.britannica.com/EBchecked/topic/642060/Minor-White

White Poplar Trees: Minor White

A Countryside View of Black and White Through Minor Whites Eyes

In this photo taken by Minor White, you can see perspective. This photography was taken in black and white. There is a vanishing point at the end of the road. The trees lined along both sides of the road get increasingly smaller and shorter as the road goes on. You can also see the repetitious shapes in the road where the shadows of the trees fall. This photograph has great composition as well. There is foreground, middle ground, and background. In the foreground you can see the trees on the left extremely close up as well as the road off to the right. In the middle ground there are bushes behind the trees on either sides. In the background there are rolling hills along with mountain tops. Also in the background are the clouds. The clouds are showing great value. The tops of the clouds are might lighter than the bottom of the clouds. There is also contrast from the black top road and the light grassy sidewalk areas. There is also great contrast moving from the dark mountaintops, to the bright clouds.