| One should really use the camera as though | I think the best pictures are often on the edges |
| tomorrow you'd be stricken blind. | of any situation, I don't find photographing the |
| - Dorothea Lange | situation nearly as interesting as |
| | photographing the edges. - William Albert |
| My own eyes are no more than scouts on a | Allard |
| preliminary search, for the camera's eye may | |
| entirely change my idea. - Edward | A room hung with pictures is a room hung with |
| Weston | thoughts. - Sir Joshua Reynolds |
| | |
| The camera makes everyone a tourist in other | You learn to see by practice. It's just like |
| people's reality. - Susan Sontag | playing tennis, you get better the more you |
| | play. The more you look around at things, the |
| | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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Los Angeles |
San Diego |
San Francisco |
Raleigh |
Des Moines |
Milwaukee |
Fitzgerald |
Seward |
Longboat Key |
Gaylord |
Ruston |
Plantation |
Bushnell |
Alma |
Jonesville |
Woodstock |
Chelsea |
Auburn |
Tyson'S Corner |
Bellville |
Newton |
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| Photography records the gamut of feelings | Once photography enters your bloodstream, |
| written on the human face, the beauty of the | it's like a disease. - Anon |
| earth and skies that man has inherited and the | |
| wealth and confusion man has created. | It is not the language of painters but the |
| - Edward Steichen | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| Photography knows how to authenticate its | reality, is more important than the feeling for |
| misrepresentations. - Mason Cooley | pictures. - Vincent Van Gogh |
| | |
| Memory is very important, the memory of | "Simply look with perceptive eyes at the |
| each photo taken, flowing at the same speed | world about you, and trust to your own |
| as the event. During the work, you have to be | reactions and convictions. Ask yourself: |
| sure that you haven't left any holes, that you've | "Does this subject move me to feel, think |
| captured everything, because afterwards it will | and dream? Can I visualize a print - my own |
| be too late. - Henri Cartier Bresson | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| | - Ansel Adams |
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