| A picture is the expression of an impression. If | "Simply look with perceptive eyes at the |
| the beautiful were not in us, how would we | world about you, and trust to your own |
| ever recognize it? - Ernst Haas | reactions and convictions. Ask yourself: |
| | "Does this subject move me to feel, think |
| I think the best pictures are often on the edges | and dream? Can I visualize a print - my own |
| of any situation, I don't find photographing the | personal statement of what I feel and want to |
| situation nearly as interesting as | convey - from the subject before me?" |
| photographing the edges. - William Albert | - Ansel Adams |
| Allard | |
| | Now to consult the rules of composition before |
| | making a picture is a little like consulting the |
| | law of gravitation before going for a walk. |
| | Such rules and laws are deduced from the |
| | accomplished fact; they are the products of |
| | reflection . . . - Edward Weston |
|
|
San Antonio |
San Diego |
Bronx |
Cleveland |
Alexandria |
Mobile |
Syracuse |
Durham |
Fort Worth |
Melbourne |
Lawton |
Fall River |
Sunnyvale |
Somerset |
Prattville |
Diamond Bar |
Blaine |
The Woodlands |
Pueblo |
Sylvania |
Millinocket |
Cortez |
Bay Harbor |
Fulton |
Apache Junction |
Dover |
Orange Park |
|
|
| A mad, keen photographer needs to get out | Pictures you have taken have an influence on |
| into the world and work and make mistakes. | those that you are going to make. |
| - Sam Abell | That's life! - John Sexton |
| | |
| My own eyes are no more than scouts on a | You've got to push yourself harder. You've got |
| preliminary search, for the camera's eye may | to start looking for pictures nobody else could |
| entirely change my idea. - Edward | take. You've got to take the tools you have and |
| Weston | probe deeper. - William Albert Allard |
| | |
| The virtue of the camera is not the power it | I think you have to have a real point of view |
| has to transform the photographer into an | that's your own. You have to tell it your way. |
| artist, but the impulse it gives him to keep on | And, I think that it's a mistake to shoot for a |
| looking. - Brooks Anderson | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
|