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Ansel Adams

The landscape king thought long and deeply about the art and craft of photography.

On “Visualization”

The concept of visualization is the foundation of this [The Camera] and all the projected books of the series. To visualize an image (in whole or in part) is to see it clearly in the mind prior to exposure, a continuous projection from composing the image through the final print. Visualization is more accurately viewed as an attitude toward photography rather than a dogma. It assumes that the photographer has total freedom of expression, and is in no way restricted by my own, or anyone else’s, ideas of the art. My intention is to help the reader acquire the tools and attitudes that contribute to creative expression, but not to dictate that creativity. —The Camera, page ix (1980)

The challenge to the photographer is to command the medium, to use whatever current equipment and technology furthers his creative objectives, without sacrificing the ability to make his own decisions. The impression prevails that the acquisition of equipment and the following of “rules” assure achievement. Edward Weston’s definitive statement, “composition is the strongest way of seeing,” should clarify the meaning of visualization and put aside the notion that any rules are more than artifice. —The Camera, page x (1980)

The term visualization refers to the entire emotional-mental process of creating a photograph, and as such, it is one of the most important concepts in photography. It includes the ability to anticipate a finished image before making the exposure, so that the procedures employed will contribute to achieving the desired result. This much of the creative process can be practiced and learned; beyond lies the domain of personal vision and insight, the creative “eye” of the individual, which cannot be taught, only recognized and encouraged. —Chapter 1, page 1

On Gear

I urge, again, avoiding the common illusion that creative work depends on equipment alone; it is easy to confuse the hope for accomplishment with the desire to possess superior instruments. —Introduction, page xiii

The next time you pick up a camera think of it not as an inflexible and automatic robot, but as a flexible instrument which you must understand to properly use. An electronic and optical miracle creates nothing on its own! Whatever beauty and excitement it can represent exist in your mind and spirit to begin with. —Introduction, page xiii

The world does not need more books on equipment. It is my intention in this book [The Camera] to stir excitement for photography and its craft in terms of personal expression. Too many people merely do what they are told to do. The greatest satisfaction derives from the realization of your individual potential, perceiving something in your own way and expressing it through adequate understanding of your tools. Take advantage of everything; be dominated by nothing except your own convictions. Do not lose sight of the essential importance of craft; every worthwhile human endeavor depends on the highest levels of concentration and mastery of basic tools. —Introduction, page xiii

Miscellanea

Some friends and colleagues have questioned the time I have spent over the years in writing, teaching, and other activities besides photography itself. I find, however, that such work keeps me in touch with the world; it would be quite impossible for me to live in a shrine dedicated only to my creativity. I have also undertaken much work of the “nuts and bolts” variety of photographic assignment. Some shudder at the thought of soiling their delicate perceptions with such “materialistic rubbish,” but I honestly found that this work taught me much, not only practical craft, but the application of whatever degree of imagination the character of the work would permit. —Introduction, page xi

Even the most realistic photograph is not the same as the subject, but separated from it by the various influences of the photographic system. The photographer may choose to emphasize or minimize these “departures from reality,” but he cannot eliminate them. —Chapter 1, page 1

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Lots of great, insightful, and important lessons in Light—Science and Magic, but not every word in the book (or even every chapter) is an essential re-read. These I think are the salient bits, the things we really need to know and remember. I’ll be referring to the book’s 6th edition (published in 2021).

Chapter 1

Most of Chapter 1 can be skipped. The only important part is the initial statement of the three “principles” of light:

• The effective size of the light source is the single most important decision in lighting a photograph. It determines what types of shadows are produced and may also affect the type of refection. 
• Three types of refections are possible from any surface: direct refection, diffuse refection, and polarized direct refection. They determine why any surface looks the way it does. 
• Some of these refections occur only if light strikes the surface from within a limited family of angles. After we decide what type of refection is important, the family of angles determines where the light should or should not be. 

Chapter 2

What is light? A brief discussion about its nature and qualities throughout this chapter.

Light is a type of electromagnetic radiation (ER). The ER that is visible to human eyes is called “light.” The other types of ER include X-rays, infrared, ultraviolet, radar, radio, and so on, which are not visible to human eyes.

Three characteristics of light are of concern to photographers:

• Brightness
• Color
• Contrast. (A light source has high contrast if its rays all strike the subject from nearly the same angle. Light rays from a low-contrast source strike the subject from many different angles. Essentially, the contrast of the light source is revealed by the appearance of the shadow it produces: a crisp shadow edge indicates high contrast; a diffused shadow edge indicates low contrast.)

Lighting is ultimately a relationship between the light, the subject, and the viewer. So how does the subject itself affect light/lighting and our perception of it?

The subject can do three things when light strikes it: it can transmit, absorb, or reflect the light.

• Transmission. Light that passes through a subject is transmitted. Think glass here–bottles and windows.

Chapter 3

This chapter deals entirely with reflection, reflection management, and the family of angles. It’s pretty much the heart of the book.

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