| It is not the language of painters but the | My own eyes are no more than scouts on a |
| language of nature which one should listen to. | preliminary search, for the camera's eye may |
| . . . The feeling for the things themselves, for | entirely change my idea. - Edward |
| reality, is more important than the feeling for | Weston |
| pictures. - Vincent Van Gogh | |
| | A mad, keen photographer needs to get out |
| Above all, it's hard learning to live with vivid | into the world and work and make mistakes. |
| mental images of scenes I cared for and failed | - Sam Abell |
| to photograph. It is the edgy existence within | |
| me of these unmade images that is the only | The virtue of the camera is not the power it |
| assurance that the best photographs are yet to | has to transform the photographer into an |
| be made. - Sam Abell | artist, but the impulse it gives him to keep on |
| | looking. - Brooks Anderson |
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Houston |
Memphis |
Raleigh |
Oklahoma City |
Gaithersburg |
Reno |
Tampa |
Goodlettsville |
Indio |
Crestview |
Franklin |
Thibodaux |
Marshall |
Lisle |
National City |
Norwalk |
Benton |
Plattsburgh |
Fort Lauderdale |
Johnson City |
Blairsville |
Baxley |
Falls Church |
Fridley |
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| Sometimes you can tell a large story with a | Photography knows how to authenticate its |
| tiny subject. - Eliot Porter | misrepresentations. - Mason Cooley |
| | |
| A great photograph is one that fully expresses | Photography is a major force in explaining |
| what one feels, in the deepest sense, about | man to man. - Edward Steichen |
| what is being photographed. - Ansel | |
| Adams | Memory is very important, the memory of |
| | each photo taken, flowing at the same speed |
| No place is boring, if you've had a good | as the event. During the work, you have to be |
| night's sleep and have a pocket full of | sure that you haven't left any holes, that you've |
| unexposed film. - Robert Adams | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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