| 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. | You've got to push yourself harder. You've got |
| - Mary Ellen Mark | to start looking for pictures nobody else could |
| | take. You've got to take the tools you have and |
| | probe deeper. - William Albert Allard |
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New York |
Orlando |
Los Angeles |
Chicago |
Durham |
Riverside |
Orange |
Colorado Springs |
Charleston |
Nashua |
Green Bay |
Ontario |
Del City |
Sioux City |
Memphis |
Quincy |
Pensacola |
Golden |
Indianapolis |
Greenville |
Satellite Beach |
Macon |
Santa Ana |
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| A room hung with pictures is a room hung with | Now to consult the rules of composition before |
| thoughts. - Sir Joshua Reynolds | making a picture is a little like consulting the |
| | law of gravitation before going for a walk. |
| A great photograph is one that fully expresses | Such rules and laws are deduced from the |
| what one feels, in the deepest sense, about | accomplished fact; they are the products of |
| what is being photographed. - Ansel | reflection . . . - Edward Weston |
| Adams | |
| | Photography is my passion. - Alfred |
| I think the best pictures are often on the edges | Stieglitz |
| of any situation, I don't find photographing the | |
| situation nearly as interesting as | |
| photographing the edges. - William Albert | |
| Allard | |
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