“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance.”

—  Ansel Adams

Paraphrased as "Film is the score and the print is the performance."
Sheff
David
May 1983
Playboy
http://davidsheff.com/article/ansel-adams/
Playboy Interview: Ansel Adams
226

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American photographer and environmentalist 1902–1984

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“I find it breathtaking […] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?”

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“Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.”

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