Ansel Adams Quotes
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A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety.
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I think we can not categorize. Things do not fit into a mold.
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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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There are no rules for good photographs, there are only good photographs.
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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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Knowing what I know now, any photographer worth his salt could make some beautiful things with pinhole cameras.
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We either have wild places or we don't. We admit the spiritual-emotional validity of wild, beautiful places or we don't. We have a philosophy of simplicity of experience in these wild places or we don't. We admit an almost religious devotion to the clean exposition of the wild, natural earth or we don't.
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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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You don't take a picture, you make a picture.
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The term accessories has come to include a host of photographic gadgets of questionable value.
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The negative is comparable to the composer's score and the print to its performance. Each performance differs in subtle ways.
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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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All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.
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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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One of the most important pieces of equipment, for the photographer who really wants to improve, is a great big wastepaper basket.
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At one with the power of the American landscape, and renowned for the patient skill and timeless beauty of his work, photographer Ansel Adams has been visionary in his efforts to preserve this country's wild and scenic areas, both in film and on Earth. Drawn to the beauty of nature's monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution. It is through his foresight and fortitude that so much of America has been saved for future Americans.
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I believe the world is incomprehensibly beautiful - an endless prospect of magic and wonder.
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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 know the importance of highly trained awareness of the “moment” and the immediate and intuitive response of the photographer. It should be obvious to all that photographers whose images possess character and quality have attained them only by continued practice and total dedication to the medium.
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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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There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit.
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I respect everything in change and the solemn beauty of life and death... and therefore, while man is amidst the immense beauty of objective bodies, he must possess the capacity of self-perfection and must observe and represent his world with full confidence.
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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.