| [Photography] is a way of feeling, of touching, | A good picture is equivalent to a good deed. |
| of loving. What you have caught on film is | - Vincent Van Gogh |
| captured forever . . . it remembers little things, | |
| long after you have forgotten everything. | A room hung with pictures is a room hung with |
| - Aaron Siskind | thoughts. - Sir Joshua Reynolds |
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| Above all, it's hard learning to live with vivid | You learn to see by practice. It's just like |
| mental images of scenes I cared for and failed | playing tennis, you get better the more you |
| to photograph. It is the edgy existence within | play. The more you look around at things, the |
| me of these unmade images that is the only | more you see. The more you photograph, the |
| assurance that the best photographs are yet to | more you realize what can be photographed |
| be made. - Sam Abell | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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New York |
San Diego |
Oklahoma City |
Kansas City |
Albuquerque |
Salt Lake City |
Yonkers |
Ventura |
Lancaster |
Rockford |
Palm Desert |
Mount Pleasant |
Amsterdam |
Beverly Hills |
Syosset |
Chandler |
Inglewood |
Searcy |
Barre |
Vallejo |
Logansport |
Au Gres |
Mahwah |
Angola |
Calistoga |
Shawnee |
Excelsior Springs |
Nelsonville |
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| The difficulty with color is to go beyond the | Photography records the gamut of feelings |
| fact that it's color to have it be not just a | written on the human face, the beauty of the |
| colorful picture but really be a picture about | earth and skies that man has inherited and the |
| something. It's difficult. So often color gets | wealth and confusion man has created. |
| caught up in color, and it becomes merely | - Edward Steichen |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | Photography knows how to authenticate its |
| color and content; otherwise it is empty. | misrepresentations. - Mason Cooley |
| - Mary Ellen Mark | |
| | Memory is very important, the memory of |
| | 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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