| "Simply look with perceptive eyes at the | I think you have to have a real point of view |
| world about you, and trust to your own | that's your own. You have to tell it your way. |
| reactions and convictions. Ask yourself: | And, I think that it's a mistake to shoot for a |
| "Does this subject move me to feel, think | specific magazine's point of view because it's |
| and dream? Can I visualize a print - my own | never going to be as good. You have to shoot |
| personal statement of what I feel and want to | for yourself and photograph [the way] you |
| convey - from the subject before me?" | believe it. - Mary Ellen Mark |
| - Ansel Adams | |
| | Photography records the gamut of feelings |
| Photography is my passion. - Alfred | written on the human face, the beauty of the |
| Stieglitz | earth and skies that man has inherited and the |
| | wealth and confusion man has created. |
| | - Edward Steichen |
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Chicago |
St. Louis |
Fort Worth |
Saginaw |
Syracuse |
Modesto |
San Francisco |
White Plains |
Mentor |
Covington |
South Boston |
Dorchester |
Dandridge |
Murrells Inlet |
St. Marys |
Pikeville |
Russellville |
Hazlehurst |
Andalusia |
Stockbridge |
Lompoc |
Stephens City |
Ludington |
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| Keep it simple. - Alfred Eienstaedt | The difficulty with color is to go beyond the |
| | fact that it's color to have it be not just a |
| No place is boring, if you've had a good | colorful picture but really be a picture about |
| night's sleep and have a pocket full of | something. It's difficult. So often color gets |
| unexposed film. - Robert Adams | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| A great photograph is one that fully expresses | brilliantly to make visual statements combining |
| what one feels, in the deepest sense, about | color and content; otherwise it is empty. |
| what is being photographed. - Ansel | - Mary Ellen Mark |
| Adams | |
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