| Keep it simple. - Alfred Eienstaedt | "Simply look with perceptive eyes at the |
| | world about you, and trust to your own |
| I think the best pictures are often on the edges | reactions and convictions. Ask yourself: |
| of any situation, I don't find photographing the | "Does this subject move me to feel, think |
| situation nearly as interesting as | and dream? Can I visualize a print - my own |
| photographing the edges. - William Albert | personal statement of what I feel and want to |
| Allard | convey - from the subject before me?" |
| | - Ansel Adams |
| A picture is the expression of an impression. If | |
| the beautiful were not in us, how would we | Photography is my passion. - Alfred |
| ever recognize it? - Ernst Haas | Stieglitz |
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New York |
Brooklyn |
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San Diego |
Troy |
Newport News |
Las Vegas |
Melbourne |
Fayetteville |
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Salem |
Rialto |
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| The virtue of the camera is not the power it | Memory is very important, the memory of |
| has to transform the photographer into an | each photo taken, flowing at the same speed |
| artist, but the impulse it gives him to keep on | as the event. During the work, you have to be |
| looking. - Brooks Anderson | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| A mad, keen photographer needs to get out | be too late. - Henri Cartier Bresson |
| into the world and work and make mistakes. | |
| - Sam Abell | You've got to push yourself harder. You've got |
| | to start looking for pictures nobody else could |
| My own eyes are no more than scouts on a | take. You've got to take the tools you have and |
| preliminary search, for the camera's eye may | probe deeper. - William Albert Allard |
| entirely change my idea. - Edward | |
| Weston | |
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