The first thing that struck me was that the church is a lot smaller than it appears in the pictures made by Adams and Strand. They both used large format cameras that allowed them a lot of control over surface textures, depth of focus and perspective. Their results may seem deceptive today, but it is also possible to argue that emphasizing a kind of monumentality in their portrayals was true to the impression people would have had of the structure when it was built two centuries ago. My own pictures of the place were made with a relatively simple box camera with few controls, and partly for that reason they reflect a more contemporary and ephemeral view of the site.
I started taking pictures of the church at 6:00 AM when the sun was low and not yet too bright. That favored the estimated focus, the two apertures, and the shutter that is limited to 1/25 or 1/50 sec. in the Vredeborch Felica box camera.
After I exposed the twelve frames available on the roll of 120 Fuji Acros rollfilm in the Felica I switched to shooting Arista Ultra Edu 100 in my Pentax ME, mostly using the 28mm f2.8 SMC Pentax M. The final portion of the two hours I spent at the church were given over to shooting Kodak ColorPlus 200 in my Olympus Infinity Stylus. It will be interesting to compare the results from those two cameras to what came from the Felica box. Of course, the light later in the morning was very different, and there were some additional characters on the set including several cats and one devout parishioner.
Coincidentally, the day after we got home, the Albuquerque Art Museum offered a morning screening of the PBS biography of Ansel Adams made some years ago, I think. It was worth watching, mostly because of the brilliant commentary by John Szarkowski. Photographers watching the film will grit their teeth during the constant zooming and panning of Ansel's images by the cinematographers.