A Quote by Ansel Adams

In a strict sense photography can never be abstract, for the camera is incapable of synthetic integration. — © Ansel Adams
In a strict sense photography can never be abstract, for the camera is incapable of synthetic integration.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
Photography today is accomplishing a lofty mission in which every German should collaborate by buying a camera. The German people is ahead of every other in the technical domain and, thanks to its exceptional qualities, the small camera has conquered the whole world... Much is at stake here from the point of view of popular consumer goods and, furthermore, photography has a particularly important political role to play. (Addressing the Berlin Photography Fair, 1933)
Fifty years after we undertook to make the first synthetic polarizers we find them the essential layer in digital liquid-crystal. And thirty four years after we undertook to make the first instant camera and film, our kind of photography has become ubiquitous.
This is a tricky domain because, unlike simple arithmetic, to solve a calculus problem - and in particular to perform integration - you have to be smart about which integration technique should be used: integration by partial fractions, integration by parts, and so on.
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
Latin America is convinced that, starting with South America, our way forward is to consolidate the process of integration: not theoretical integration - the integration of speeches - but physical integration, with infrastructure, with roads, with railways, with communications, with energy.
I look at the camera as sort of a missing link between motion picture photography and still photography.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
Photography is a source of raw materials as I believe the camera is never perfect and will never be able to express in full what I see and feel.
I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
If I didn't have a conviction that a serious painter can portray Nature more profoundly than the best colour photography, I'd probably give it all up or go abstract or take up photography.
Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
In the strict sense of the term, a true democracy has never existed, and never will exist.
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