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

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You don't make a photograph just with a camera
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Millions of men have lived to fight, build palaces and boundaries, shape destinies and societies but the compelling force of all times has been the force of originality and creation profoundly affecting the roots of human spirit.
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In wisdom gathered over time I have found that every experience is a form of exploration.
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The [35mm] camera is for life and for people, the swift and intense moments of life.
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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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Myths and creeds are heroic struggles to comprehend the truth in the world.
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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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A true photograph need not be explained, nor can it be contained in words.
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A photograph is not an accident - it is a concept.
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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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If what I see in my mind excites me, there is a good chance it will make a good photograph.
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Bad weather makes for good photography.
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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.
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I am probably afraid that some spectator will not understand my photography - therefore I proceed to make it really less understandable by writing defensibly about it.
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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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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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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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There is nothing worse than a sharp image of a fuzzy concept.
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A photograph is usually looked at - seldom looked into.
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These people live again in print as intensely as when their images were captured on old dry plates of sixty years ago... I am walking in their alleys, standing in their rooms and sheds and workshops, looking in and out of their windows. Any they in turn seem to be aware of me.
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