| Memory is very important, the memory of | Now to consult the rules of composition before |
| each photo taken, flowing at the same speed | making a picture is a little like consulting the |
| as the event. During the work, you have to be | law of gravitation before going for a walk. |
| sure that you haven't left any holes, that you've | Such rules and laws are deduced from the |
| captured everything, because afterwards it will | accomplished fact; they are the products of |
| be too late. - Henri Cartier Bresson | reflection . . . - Edward Weston |
| | |
| Photography records the gamut of feelings | There is nothing worse than a sharp image of |
| written on the human face, the beauty of the | a fuzzy concept. - Ansel Adams |
| earth and skies that man has inherited and the | |
| wealth and confusion man has created. | |
| - Edward Steichen | |
|
|
Chicago |
Seattle |
Tampa |
Staten Island |
Alexandria |
Irving |
Naperville |
Birmingham |
Cumming |
Texarkana |
Southaven |
Westchester |
Green Bay |
Allen |
Duncansville |
Eden Prairie |
Port Huron |
Thomson |
Benton Harbor |
Ridgeway |
Jackson |
Plymouth |
Ouray |
Barrington |
Defuniak Springs |
Athens |
Shamokin Dam |
|
|
| The difficulty with color is to go beyond the | I think the best pictures are often on the edges |
| fact that it's color to have it be not just a | of any situation, I don't find photographing the |
| colorful picture but really be a picture about | situation nearly as interesting as |
| something. It's difficult. So often color gets | photographing the edges. - William Albert |
| caught up in color, and it becomes merely | Allard |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | Keep it simple. - Alfred Eienstaedt |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | A great photograph is one that fully expresses |
| | what one feels, in the deepest sense, about |
| | what is being photographed. - Ansel |
| | Adams |
|