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It is horrifying that we have to fight our own government to save the environment.

Ansel Adams

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Ansel Adams
Age: 82 †
Born: 1902
Born: February 20
Died: 1984
Died: April 22
Environmentalist
Mountaineer
Photographer
Pianist
University Teacher
Writer
San Francisco County
California
Ansel Easton Adams
Ansel Easton Adams II
Ansel E. Adams
Environment
Ecology
Fighting
Conservation
Nature
Surroundings
Government
Pollution
Preservation
Environmental
Save
Conserving
Fight
Horrifying

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I expect to retire to a fine-grained heaven where the temperatures are always consistent, where the images slide before one's eyes in a continual cascade of form and meaning.
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I can't verbalize the internal meaning of pictures whatsoever. Some of my friends can at very mystical levels, but I prefer to say that, if I feel something strongly, I would make a photograph, that would be the equivalent of what I saw and felt.
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I’m interested in something which is built up from within, rather than just extracted from without.
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Ask yourself, 'Why am I seeing and feeling this? How am I growing? What am I learning?' Remember: Every coincidence is potentially meaningful.
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There are no rules for good photographs, there are only good photographs.
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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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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 artist and the photographer seek the mysteries and the adventure of experience in nature.
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The (photographic) negative is the equivalent of the composers score and the print is the equivalent of the conductors performance.
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The photo-journalist and the photo-poet are both important. The problem is to separate the major objectives of the various groups and not to attribute qualities and intentions where they do not belong.
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A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.
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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 all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere.
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Not everybody trusts paintings but people believe photographs.
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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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There are always two people in every picture: the photographer and the viewer.
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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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A great photograph is a full expression of what one feels...
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Photography and photographers have an inevitable development. They progress more or less by steps. Every five or ten years some new point of view is developed and young people are inclined to follow it.
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