A Quote by Ansel Adams

There are no rules for good photographs, there are only good photographs. — © Ansel Adams
There are no rules for good photographs, there are only good photographs.
A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.
He who writes must master the rules of grammar. He who shoots photographs needs only to follow the instructions as given by the camera.... This leads to the paradox that the more people shoot photographs, the less they are capable of deciphering them.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
Things changed a little when I started taking photographs for magazines. I was afraid in the beginning. I thought, "Oh I can't do it, because I have never taken a photographs commercially for a magazine." But I wanted to learn so I started. But when I took models from agencies, I took beginners. Sometimes they were really good, but you have to work with them. You have to be good with women and the boys.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
Teaching is only interesting because you struggle with trying to talk about photographs, photographs that work, you see.
Photographs have always been the tar baby of censors and obscenity laws. Literature can certainly (if it's any good) conjure up the most pornographic imagination. But photographs dare to be real. No matter how contrived or constructed they are, there's that damn body staring you in the face.
If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
Every year, the memories I have of my father become more faint, unclear, and distant. once they were vivid and true, then they became like photographs, and now they are more like photographs of photographs.
I believe in the resonance and staying power of quiet photographs. These photographs required a certain seeing, but few special techniques, and no tricks. Something though was hard. It was hard being between photographs and not knowing when or how another image would reveal itself.
Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
The public is being spoiled by good technical quality photographs in magazines, on television, in the movies, and they have become bored. The disease of our age is this boredom and a good photographer must successfully combat it. The only way to do this is by invention - by surprise.
I don't use photographs because photographs don't give me the kind of information I need.
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