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Adams co-founded the Center for Creative Photography with then-University of 蜜柚直播 president and photography enthusiast in 1975.

The idea grew from an audacious pitch Schaefer made during an exhibition of the photographer鈥檚 work at the U of A Museum of Art: He asked Adams point-blank to entrust the university with the complete archives of his life鈥檚 work.

As Schaefer would later write in a book about , 鈥淎nsel, though somewhat surprised by the direct nature of my suggestion, responded by saying that he was not interested in having his work stand as an isolated collection. If, however, the university were willing to think in broader terms and include the works of many other photographers, he would be interested in exploring the possibilities.鈥�

Today, the center at 1030 N. Olive Road on the U of A campus holds more than 120,000 works by over 2,200 photographers. It also serves as the permanent home for archival collections of some 300 masters of the medium, including Adams, who died in 1984.

The Center for Creative Photography is celebrating its 50th anniversary with a new exhibition designed to showcase the depth and variety of what has become one of the world鈥檚 largest and most important research repositories for photography.

opened on May 3 and runs through Dec. 20 in the center鈥檚 . Admission to the show is free.

鈥淚t鈥檚 our 50th birthday, so it seemed perfect to throw ourselves a party in the form of a show,鈥� said CCP Chief Curator Rebecca Senf. 鈥淭he curators are like the party hosts, and the viewers are like the party guests.鈥�

Senf said the anniversary exhibition has been in the works since 2023, when joined the center as its director.

So how did they choose a few dozen representative images and objects from a library of tens of thousands?

鈥淲e got to thinking about what the collection is, what the collection means, and what the value is of the collection,鈥� Senf said. 鈥淲e started looking at it as a renewable resource.鈥�

By selecting individual items and grouping them together in different ways, the collection can be used to 鈥渢ell an infinite number of stories,鈥� she said.

The 鈥淧icture Party鈥� highlights examples of that. One exhibit brings together nearly a century鈥檚 worth of landscapes by Adams and others. Another assembles portraits from different photographers and different eras into a classic salon-wall-style display.

The exhibition features about 80 works of art and 20 so-called 鈥渁rchival objects,鈥� Senf said. It spans nearly the entire history of the art form, from images captured in the past few years to a 19th-century made by a prominent Boston portrait studio less than a decade after the invention of the photographic process.

Such daguerreotypes are extremely rare and valuable, but the center has four of them in its collection, all donated by Adams, Senf said. 鈥淚t鈥檚 a treasure.鈥�

The new exhibit also features an assortment of personal items meant to evoke a physical connection to some of the celebrated photographers collected at the center 鈥� Lola 脕lvarez Bravo鈥檚 sunglasses; Edward Weston鈥檚 wedding ring; Pulitzer-Prize winner David Hume Kennerly鈥檚 helmet from the Vietnam War; W. Eugene Smith鈥檚 ID card, complete with his fingerprints; the body armor photojournalist Louie Pal煤 wore in Afghanistan; and some of the dodging tools Ansel Adams used to create his coveted prints.

Adams is 鈥渟omething of a touchstone鈥� for the CCP, Senf explained, so he serves a similar role in the anniversary exhibit.

But the 鈥淧icture Party鈥� also features some of the center鈥檚 newest acquisitions and work that has never been displayed before by artists who aren鈥檛 exactly household names.

鈥淭here are photographers in this show that I learned about in the course of curating it. They were new to me,鈥� Senf said. 鈥淚鈥檝e been here 18 years, and I don鈥檛 know all the works in the collection.鈥�