| Memory is very important, the memory of | "Simply look with perceptive eyes at the |
| each photo taken, flowing at the same speed | world about you, and trust to your own |
| as the event. During the work, you have to be | reactions and convictions. Ask yourself: |
| sure that you haven't left any holes, that you've | "Does this subject move me to feel, think |
| captured everything, because afterwards it will | and dream? Can I visualize a print - my own |
| be too late. - Henri Cartier Bresson | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| Pictures you have taken have an influence on | - Ansel Adams |
| those that you are going to make. | |
| That's life! - John Sexton | It is not the language of painters but the |
| | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| | reality, is more important than the feeling for |
| | pictures. - Vincent Van Gogh |
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San Francisco |
Rochester |
Richmond |
Tampa |
Baton Rouge |
Englewood |
Bloomington |
Lake Worth |
Shreveport |
Longwood |
Anchorage |
Butler |
Addison |
Paris |
Altoona |
Lafayette |
Wheeling |
Austintown |
Quincy |
Hyannis |
Concord |
Valley |
Morehead |
Corona |
Sudbury |
Ridgeland (Point South) |
Parkersburg |
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| A great photograph is one that fully expresses | My own eyes are no more than scouts on a |
| what one feels, in the deepest sense, about | preliminary search, for the camera's eye may |
| what is being photographed. - Ansel | entirely change my idea. - Edward |
| Adams | Weston |
| | |
| I think the best pictures are often on the edges | The difficulty with color is to go beyond the |
| of any situation, I don't find photographing the | fact that it's color to have it be not just a |
| situation nearly as interesting as | colorful picture but really be a picture about |
| photographing the edges. - William Albert | something. It's difficult. So often color gets |
| Allard | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
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