Music turned out to be what he focused on in his later life. Adam’s father assigned him to teacher Butler who taught piano. After some years under Butler’s guidance, Adams was assigned to other teachers like Henry Cowell. Piano became Adams primary occupation for the next twelve years. As much as he traded music for photographing, the piano came with much structure, discipline and substance to his erratic and frustrating youth. Furthermore, the careful exacting craft and careful training needed by a musician deeply informed his artistry and his influential teachings and writings on photography. Adams first time to be in Yosemite park was in 1916 when he went with the family. Adam wrote on what he viewed about the valley and suggested that a new had begun for him. Adam’s father provided him with his first machine or camera, a Kodak box camera. Adams returned to that park the subsequent year with a tripod and better cameras. Adams learnt darkroom technique while working for photofinisher in San Francisco. He keenly studied photography magazines, went to art exhibits, camera club and photography exhibits. With Holman a retired geologist, Adams travelled to the Sierra developing the skill and stamina required to photograph in tough weather condition and high elevation. Adams turned himself to be precise than other photographers before having the visual understanding of particular light quality which fell on a place at a particular time. According to Adam natural landscape solid sculpture and not fixed though an insignificant image. The sensibility to light specificity was the intent that made Adams develop his technique in legendary photography. Adams fought for balanced growth after losing habitat and realizing development although he was anguished by progress ravages. Adams was stressed by an internment by Japanese America that took place after an attack on the Pearl Harbor. He asked for permission to go to the Manzanar war centre situated in Owens valley beneath Mt. Williamson.