| Photography records the gamut of feelings | Photography suits the temper of this ageof |
| written on the human face, the beauty of the | active bodies and minds. It is a perfect |
| earth and skies that man has inherited and the | medium for one whose mind is teeming with |
| wealth and confusion man has created. | ideas, imagery, for a prolific worker who |
| - Edward Steichen | would be slowed down by painting or |
| | sculpting, for one who sees quickly and acts |
| You've got to push yourself harder. You've got | decisively, accurately. - Edward Weston |
| to start looking for pictures nobody else could | |
| take. You've got to take the tools you have and | The difficulty with color is to go beyond the |
| probe deeper. - William Albert Allard | fact that it's color to have it be not just a |
| | colorful picture but really be a picture about |
| | something. It's difficult. So often color gets |
| | 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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|
Chicago |
Fort Worth |
New York |
Poughkeepsie |
Columbus |
El Paso |
Ames |
Tallahassee |
Cary |
Santa Barbara |
Towson |
Tifton |
Baton Rouge |
Lock Haven |
Carlsbad |
Ontario |
Campbell |
Brigham City |
Warsaw |
Lubbock |
Jekyll Island |
Jacksonville |
Palenque |
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| Now to consult the rules of composition before | No place is boring, if you've had a good |
| making a picture is a little like consulting the | night's sleep and have a pocket full of |
| law of gravitation before going for a walk. | unexposed film. - Robert Adams |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | A room hung with pictures is a room hung with |
| reflection . . . - Edward Weston | thoughts. - Sir Joshua Reynolds |
| | |
| "Simply look with perceptive eyes at the | Keep it simple. - Alfred Eienstaedt |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | You learn to see by practice. It's just like |
| "Does this subject move me to feel, think | playing tennis, you get better the more you |
| and dream? Can I visualize a print - my own | play. The more you look around at things, the |
| personal statement of what I feel and want to | more you see. The more you photograph, the |
| convey - from the subject before me?" | more you realize what can be photographed |
| - Ansel Adams | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
|