| I think the best pictures are often on the edges | "Simply look with perceptive eyes at the |
| of any situation, I don't find photographing the | world about you, and trust to your own |
| situation nearly as interesting as | reactions and convictions. Ask yourself: |
| photographing the edges. - William Albert | "Does this subject move me to feel, think |
| Allard | and dream? Can I visualize a print - my own |
| | personal statement of what I feel and want to |
| A picture is the expression of an impression. If | convey - from the subject before me?" |
| the beautiful were not in us, how would we | - Ansel Adams |
| ever recognize it? - Ernst Haas | |
| | Above all, it's hard learning to live with vivid |
| | mental images of scenes I cared for and failed |
| | to photograph. It is the edgy existence within |
| | me of these unmade images that is the only |
| | assurance that the best photographs are yet to |
| | be made. - Sam Abell |
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New York |
Los Angeles |
San Jose |
Staten Island |
Fresno |
Seattle |
Quincy |
Downey |
Irvine |
Mobile |
Irving |
Marietta |
Milwaukee |
Cary |
Lincoln |
Allen |
Sandusky |
Belgrade |
Plymouth |
Spring Lake |
Rice Lake |
Snowflake |
Nelsonville |
Mt Pleasant |
Moncks Corner |
Oak Harbor |
Elko |
Lake Lanier Atlanta |
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| Memory is very important, the memory of | A mad, keen photographer needs to get out |
| each photo taken, flowing at the same speed | into the world and work and make mistakes. |
| as the event. During the work, you have to be | - Sam Abell |
| sure that you haven't left any holes, that you've | |
| captured everything, because afterwards it will | My own eyes are no more than scouts on a |
| be too late. - Henri Cartier Bresson | preliminary search, for the camera's eye may |
| | entirely change my idea. - Edward |
| Pictures you have taken have an influence on | Weston |
| those that you are going to make. | |
| That's life! - John Sexton | The difficulty with color is to go beyond the |
| | 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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