Q: You're very concerned with mood, obviously...
Ansel Adams: Well, that's part of the visualization, the aesthetics. Aesthetic in emotional statement. I think it might be helpful to you to quote that Stieglitz statement, when someone asked him:
"Stieglitz, we don't understand this talk about creative photography and creativity, with a mechanical medium. How do you make a creative photograph?" ― And he replied that he was interested to "go out in the world with his camera, he'd become across something that excited him emotionally, spiritually and aesthetically" ― forget all those words, they don't mean much, they're just symbols of something much deeper - "and I see the picture in my mind's eye. I make the photograph and I give you the print as the equivalent of what I saw and felt." ― And that word equivalent is really profound because it is the equivalent of two things: what he saw and what he felt about it.
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More about it:
«in 1933, a meeting that would affect all of photography occurred when Ansel Adams came to New York on a pilgrimage to meet Alfred Stieglitz, the photographer whose life and work Ansel Adams most admired. Ansel Adams said that when he told Alfred Stieglitz of his concept of visualization, Alfred Stieglitz “responded with his explanation of creative photography.” Ansel Adams’ definition of visualization became one of the cornerstones of the training in photography that Philip Hyde would participate in later. Ansel Adams wrote in Modern Photography magazine, “The photographer visualizes his conception of the subject as presented in the final print. He achieves the expression of his visualization through his technique—aesthetic, intellectual, and mechanical.” Alfred Stieglitz’ replied to Ansel Adams’ statement on visualization with the same explanation he had given someone questioning the validity of art produced by a camera. A patron asked Alfred Stieglitz whether a “machine could be creative?” Alfred Stieglitz replied, “I have the desire to photograph. I go out with my camera. I come across something that excites me emotionally, spiritually, aesthetically. I see the photograph in my mind’s eye and I compose and expose the negative. I give you the print as the equivalent of what I saw and felt.”»
in this blog article Photography’s Golden Era 4, by David Leland Hyde
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