| The camera makes everyone a tourist in other | Memory is very important, the memory of |
| people's reality. - Susan Sontag | each photo taken, flowing at the same speed |
| | as the event. During the work, you have to be |
| I almost never set out to photograph a | sure that you haven't left any holes, that you've |
| landscape, nor do I think of my camera as a | captured everything, because afterwards it will |
| means of recording a mountain or an animal | be too late. - Henri Cartier Bresson |
| unless I absolutely need a 'record shot'. My | |
| first thought is always of light. - Galen | I think you have to have a real point of view |
| Rowell | that's your own. You have to tell it your way. |
| | And, I think that it's a mistake to shoot for a |
| | 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 |
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St. Louis |
Tucson |
Lexington |
San Antonio |
Dayton |
Dothan |
Richmond |
Ann Arbor |
Schenectady |
Santa Rosa |
Conway |
Kansas City |
Arroyo Grande |
Manchester |
Norwalk |
Westfield |
Bethel |
Boscobel |
Essex Junction |
Eugene |
Aptos |
Rio Rico |
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| There is nothing worse than a sharp image of | A great photograph is one that fully expresses |
| a fuzzy concept. - Ansel Adams | what one feels, in the deepest sense, about |
| | what is being photographed. - Ansel |
| "Simply look with perceptive eyes at the | Adams |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | A picture is the expression of an impression. If |
| "Does this subject move me to feel, think | the beautiful were not in us, how would we |
| and dream? Can I visualize a print - my own | ever recognize it? - Ernst Haas |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | No place is boring, if you've had a good |
| - Ansel Adams | night's sleep and have a pocket full of |
| | unexposed film. - Robert Adams |
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