| Keep it simple. - Alfred Eienstaedt | I think you have to have a real point of view |
| | that's your own. You have to tell it your way. |
| Sometimes you can tell a large story with a | And, I think that it's a mistake to shoot for a |
| tiny subject. - Eliot Porter | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| You learn to see by practice. It's just like | for yourself and photograph [the way] you |
| playing tennis, you get better the more you | believe it. - Mary Ellen Mark |
| play. The more you look around at things, the | |
| more you see. The more you photograph, the | Memory is very important, the memory of |
| more you realize what can be photographed | each photo taken, flowing at the same speed |
| and what can't be photographed. You just have | as the event. During the work, you have to be |
| to keep doing it. - Eliot Porter | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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New York |
Tulsa |
Madison |
Brooklyn |
Omaha |
Dearborn |
Union City |
Monroeville |
Quincy |
Iron Mountain |
Russellville |
Nederland |
Westchester |
Iola |
Covington |
Sherman |
Saginaw |
Milton |
Fort Myers Beach |
Issaquah |
Streetsboro |
Edmond |
Fort Mitchell |
Norcross |
Ventura |
Astoria |
Mount Kisco |
Ft. Wayne |
Bulls Gap |
Sonoma |
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| There is nothing worse than a sharp image of | My own eyes are no more than scouts on a |
| a fuzzy concept. - Ansel Adams | preliminary search, for the camera's eye may |
| | entirely change my idea. - Edward |
| [Photography] is a way of feeling, of touching, | Weston |
| of loving. What you have caught on film is | |
| captured forever . . . it remembers little things, | One should really use the camera as though |
| long after you have forgotten everything. | tomorrow you'd be stricken blind. |
| - Aaron Siskind | - Dorothea Lange |
| | |
| "Simply look with perceptive eyes at the | A mad, keen photographer needs to get out |
| world about you, and trust to your own | into the world and work and make mistakes. |
| reactions and convictions. Ask yourself: | - Sam Abell |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
|