| "Simply look with perceptive eyes at the | Sometimes you can tell a large story with a |
| world about you, and trust to your own | tiny subject. - Eliot Porter |
| reactions and convictions. Ask yourself: | |
| "Does this subject move me to feel, think | A good picture is equivalent to a good deed. |
| and dream? Can I visualize a print - my own | - Vincent Van Gogh |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | I think the best pictures are often on the edges |
| - Ansel Adams | of any situation, I don't find photographing the |
| | situation nearly as interesting as |
| Above all, it's hard learning to live with vivid | photographing the edges. - William Albert |
| mental images of scenes I cared for and failed | Allard |
| to photograph. It is the edgy existence within | |
| me of these unmade images that is the only | |
| assurance that the best photographs are yet to | |
| be made. - Sam Abell | |
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Kansas City |
San Jose |
Fort Worth |
Dallas |
Jacksonville |
Yonkers |
Charlotte |
Edison |
Venice |
Waterloo |
Reno |
Billings |
Waldorf |
Freehold |
Worthington |
Hamilton |
Lewisburg |
Old Greenwich |
Louisville |
Southampton |
Lakewood |
Decatur |
Snyder |
Anaheim Hills |
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| The virtue of the camera is not the power it | Photography is about finding out what can |
| has to transform the photographer into an | happen in the frame. When you put four |
| artist, but the impulse it gives him to keep on | edges around some facts, you change those |
| looking. - Brooks Anderson | facts. - Gary Winogrand |
| | |
| The camera makes everyone a tourist in other | Photography knows how to authenticate its |
| people's reality. - Susan Sontag | misrepresentations. - Mason Cooley |
| | |
| The difficulty with color is to go beyond the | Memory is very important, the memory of |
| fact that it's color to have it be not just a | each photo taken, flowing at the same speed |
| colorful picture but really be a picture about | as the event. During the work, you have to be |
| something. It's difficult. So often color gets | sure that you haven't left any holes, that you've |
| caught up in color, and it becomes merely | captured everything, because afterwards it will |
| decorative. Some photographers use [ it ] | be too late. - Henri Cartier Bresson |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
|