The Morada door, along the Purgatory River c. early 1970s

Robert Adams made this photograph, "The Morada door, along the Purgatory River", using black and white film, and what strikes me most is how he coaxes such a range of tone from his limited palette. The weathered door, adorned with a stark white cross, sits ajar, beckoning us into a space of contemplation. The surface of the wall is rough, almost geological in its texture, a stark contrast to the smooth, worn planks of the door itself. Look at the lower center of the door, just above the threshold, where wild grasses obscure the view. There's a tension between what's revealed and concealed. This reminds me of Walker Evans' approach to vernacular architecture; both artists seem interested in finding beauty in the mundane, elevating the everyday to something worthy of our attention. It's a conversation about seeing, about noticing, and about finding meaning in the overlooked corners of the world.