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The sheer ease with which we can produce a superficial image often leads to creative disaster.

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
Creative
Ease
Often
Disaster
Leads
Photographer
Photograph
Image
Etching
Photography
Superficial
Produce
Sheer

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A photograph is not an accident - it is a concept.
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Not everybody trusts paintings but people believe photographs.
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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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A photograph is not an accident - is a concept. It exists at, or before, the moment of exposure of the negative.
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Art is both the taking and giving of beauty the turning out to the light the inner folds of the awareness of the spirit. It is the recreation on another plane of the realities of the world the tragic and wonderful realities of earth and men, and of all the inter-relations of these.
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No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.
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Myths and creeds are heroic struggles to comprehend the truth in the world.
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It is easy to take a photograph, but it is harder to make a masterpiece in photography than in any other art medium.
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My wife - she could help me get the negs out!
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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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We were in the shadow of the mountains, the light was cool and quiet and no wind was stirring. The aspen trunks were slightly greenish and the leaves were a vibrant yellow.
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I knew my destiny when I first experienced Yosemite.
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Sometimes I do get to places just when God's ready to have somebody click the shutter.
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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 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 eagerly await new concepts and processes. I believe that the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them.
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It is increasingly clear to me that my art relates more and more to a sublimation of my closeness to the natural world, it's events, light itself, and the positive it is a personal expression based on observation and reaction, that I am not able to define except in terms of the work itself.
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Photographers and artists contribute a lot to the world and have a right to exist in relative security and comfort.
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I know some photographs that are extraodrinary in their power and conviction, but it is difficult in photography to overcome the superficial power or subject the concept and statement must be quite convincing in themselves to win over a dramatic and compelling subject situation.
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Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space.
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