| Above all, it's hard learning to live with vivid | Keep it simple. - Alfred Eienstaedt |
| mental images of scenes I cared for and failed | |
| to photograph. It is the edgy existence within | A great photograph is one that fully expresses |
| me of these unmade images that is the only | what one feels, in the deepest sense, about |
| assurance that the best photographs are yet to | what is being photographed. - Ansel |
| be made. - Sam Abell | Adams |
| | |
| Now to consult the rules of composition before | You can find pictures anywhere. It's simply a |
| making a picture is a little like consulting the | matter of noticing things and organizing them. |
| law of gravitation before going for a walk. | You just have to care about what's around you |
| Such rules and laws are deduced from the | and have a concern with humanity and the |
| accomplished fact; they are the products of | human comedy. - Elliott Erwitt |
| reflection . . . - Edward Weston | |
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Philadelphia |
Cincinnati |
San Jose |
Phoenix |
Glendale |
Lexington |
Sioux City |
Charlottesville |
Nashua |
Trenton |
Reno |
Brooklyn |
Southampton |
Waynesville |
Easton |
Lawrenceville |
Sarasota |
The Dalles |
Santa Rosa |
Concord |
Ashland |
Rolla |
Marietta |
Summerville |
Brooklyn Park |
Crete |
Attleboro |
Hood River |
Santa Monica |
Broomfield |
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| The difficulty with color is to go beyond the | Pictures you have taken have an influence on |
| fact that it's color to have it be not just a | those that you are going to make. |
| colorful picture but really be a picture about | That's life! - John Sexton |
| something. It's difficult. So often color gets | |
| caught up in color, and it becomes merely | Photography knows how to authenticate its |
| decorative. Some photographers use [ it ] | misrepresentations. - Mason Cooley |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | Memory is very important, the memory of |
| - Mary Ellen Mark | each photo taken, flowing at the same speed |
| | as the event. During the work, you have to be |
| | 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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