A Quote by Annie Leibovitz

I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country. — © Annie Leibovitz
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.
Trained as a musician, [photographer Ansel] Adams understood the richness of variation that could be unfolded from a simple theme.
I don't know the American photographers as well, but I admit I love Ansel Adams. His landscapes are so crisp.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
The camera would miss it all. A magnificent picture is never worth a thousand perfect words. Ansel Adams can be a great artist, but he can never be Shakespeare. His tools are too literal.
I was living in Monterey, a place where the classic photographers - the Westons, Wynn Bullock and Ansel Adams - came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.
While the photos at the D.M.V. (New York) will still be taken in color, the engraving is done in grayscale, hence the Ansel Adams feel.
If Ansel Adams gets a thousand dollars a print, I want ten thousand.
In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
Ansel Adams rattled around the Southwest with his battered truck and his view camera, which looked like a giant accordion with a lens attached to it.
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.
When People magazine called me, I did the job on Ansel. I'm older than Ansel and he has to mind me.
If I was concerned about being accepted, I would have been doing Ansel Adams lookalikes, because that was easily accepted. Everything I did was never accepted...but luckily for me, my interest in the subject and my passion for the subject took me to the point that I wasn't wounded by that, and eventually, people came around to me.
Ansel [Adams] always jumped over the fence to photograph, walked past the garbage. He always looked to get an immaculate view, and I spent my life stepping back to include the garbage in my photographic view.
Good photography is not about Zone Printing or any other Ansel Adams nonsense. It's just about seeing. You either see or you don't see. The rest is academic. Photography is simply a function of noticing things. Nothing more.
My work is my language and I don't discuss it very easily. It's difficult for me to verbalize my feelings, or to intellectualize my work. In fact, it used to annoy me when Ansel Adams and Paul Strand yak-yak-yakked about what photography meant, and I told them so.
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