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I usually have an immediate recognition of the potential image, and I have found that too much concern about matters such as conventional composition may take the edge off the first inclusive reaction.

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
Firsts
Recognition
Inclusive
Matter
Potential
Composition
First
Matters
Immediate
Take
Image
Reaction
Much
Concern
Conventional
Usually
Edge
Found
Reactions
May
Edges

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Bad weather makes for good photography.
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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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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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Art is both the taking and giving of beauty, the turning out to the light of the inner folds of the awareness of the spirit.
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The camera cannot, but the photographer can.
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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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Photograph not only what you see but also what you feel.
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A photograph is not an accident - it is a concept.
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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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Let us leave a splendid legacy for our children...let us turn to them and say, this you inherit: guard it well, for it is far more precious than money...and once destroyed, nature's beauty cannot be repurchased at any price.
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I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!
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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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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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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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Twelve significant photographs in any one year is a good crop.
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Not everybody trusts paintings but people believe photographs.
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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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The sheer ease with which we can produce a superficial image often leads to creative disaster.
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We all move on the fringes of eternity and are sometimes granted vistas through fabric of illusion.
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