Ansel Adams Quotes
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Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and wonder surrounding him.
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There are no rules for good photographs, there are only good photographs.
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When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.
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I would never apologize for photographing rocks. Rocks can be very beautiful. But, yes, people have asked why I don’t put people into my pictures of the natural scene. I respond, 'There are always two people in every picture: the photographer and the viewer.' That usually doesn’t go over at all.
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I have often had a retrospective vision where everything in my past life seems to fall with significance into logical sequence.
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All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.
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The term accessories has come to include a host of photographic gadgets of questionable value.
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With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.
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We all move on the fringes of eternity and are sometimes granted vistas through fabric of illusion. Many refuse to admit it: I feel a mystery exists. There are certain times, when, as on the whisper of the wind, there comes a clear and quiet realization that there is indeed a presence in the world, a nonhuman entity that is not necessarily inhuman.
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I think we can not categorize. Things do not fit into a mold.
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It is just as important to bring people the evidence of the beauty of the world of nature and of man as it is to give them a document of ugliness, squalor, and despair.
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Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
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There still is some opposition to it in some museums and art schools, but I think photography has really grown into a mature art form.
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The single most important component of a camera is the twelve inches behind it!
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To visualize an image (in whole or in part) is to see clearly in the mind prior to exposure, a continuous projection from composing the image through the final print.
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The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
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I have often had a retrospective vision where everything in my past life seems to fall with significance into logical sequence. Intuition, suspicion, or confidence in new ventures; there is a strange strain within me when advantage is not taken of some situation, the immediacy of recognition of the rightness or wrongness of a mood, a response, a decision - they are so often valid that I am increasingly convinced that we have yet to grasp the reality of existence.
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Knowing what I know now, any photographer worth his salt could make some beautiful things with pinhole cameras.
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Today, we must realize that nature is revealed in the simplest meadow, wood lot, marsh, stream, or tidepool, as well as in the remote grandeur of our parks and wilderness areas.
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Not everybody trusts paintings but people believe photographs.
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The piano has eighty-eight keys, and you have to be able to play all of them. And the range of white to black is analogous to the eighty-eight keys and you have to be able to play all eighty-eight keys in that palette from white to black.
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I've always thought photography was an art form, but it had very low appreciation in the beginning, except for some Europeans, and of course Stieglitz. Stieglitz always considered photography to be an art form and is the "father" of the creative concepts of the twentieth century.
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A true photograph need not be explained, nor can it be contained in words.
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The ‘machine-gun’ approach to photography – by which many negatives are made with the hope that one will be good – is fatal to serious results.