An approach that uses the camera's own strengths, such as sharp focus, detail and tonal range, without manipulating the image to look like a painting. It developed in the 1910s as a reaction to Pictorialism.
Paul Strand's photographs published in Camera Work in 1917 are often seen as an early example. Alfred Stieglitz, Edward Weston and Ansel Adams became leading figures. See also Group f/64 and Modernism.
