| Sometimes you can tell a large story with a | It is not the language of painters but the |
| tiny subject. - Eliot Porter | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| A good picture is equivalent to a good deed. | reality, is more important than the feeling for |
| - Vincent Van Gogh | pictures. - Vincent Van Gogh |
| | |
| Keep it simple. - Alfred Eienstaedt | Now to consult the rules of composition before |
| | making a picture is a little like consulting the |
| I think the best pictures are often on the edges | law of gravitation before going for a walk. |
| of any situation, I don't find photographing the | Such rules and laws are deduced from the |
| situation nearly as interesting as | accomplished fact; they are the products of |
| photographing the edges. - William Albert | reflection . . . - Edward Weston |
| Allard | |
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Oklahoma City |
Brooklyn |
Saginaw |
Fayetteville |
Wichita Falls |
Hayward |
North Little Rock |
Greenville |
Elmhurst |
Foley |
Foxboro |
San Marcos |
Brinkley |
Plymouth |
Livingston |
Fort Walton Beach |
Wayne |
College Park |
Cedar Hill |
Peru |
St. Joseph |
Bloomington |
Centralia |
Millen |
Woodway |
Ashland |
Vernon |
Dalhart |
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| Memory is very important, the memory of | I almost never set out to photograph a |
| each photo taken, flowing at the same speed | landscape, nor do I think of my camera as a |
| as the event. During the work, you have to be | means of recording a mountain or an animal |
| sure that you haven't left any holes, that you've | unless I absolutely need a 'record shot'. My |
| captured everything, because afterwards it will | first thought is always of light. - Galen |
| be too late. - Henri Cartier Bresson | Rowell |
| | |
| Photography records the gamut of feelings | The difficulty with color is to go beyond the |
| written on the human face, the beauty of the | fact that it's color to have it be not just a |
| earth and skies that man has inherited and the | colorful picture but really be a picture about |
| wealth and confusion man has created. | something. It's difficult. So often color gets |
| - Edward Steichen | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
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