| My own eyes are no more than scouts on a | A room hung with pictures is a room hung with |
| preliminary search, for the camera's eye may | thoughts. - Sir Joshua Reynolds |
| entirely change my idea. - Edward | |
| Weston | You learn to see by practice. It's just like |
| | playing tennis, you get better the more you |
| Photography suits the temper of this ageof | play. The more you look around at things, the |
| active bodies and minds. It is a perfect | more you see. The more you photograph, the |
| medium for one whose mind is teeming with | more you realize what can be photographed |
| ideas, imagery, for a prolific worker who | and what can't be photographed. You just have |
| would be slowed down by painting or | to keep doing it. - Eliot Porter |
| sculpting, for one who sees quickly and acts | |
| decisively, accurately. - Edward Weston | |
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| Memory is very important, the memory of | It is not the language of painters but the |
| each photo taken, flowing at the same speed | language of nature which one should listen to. |
| as the event. During the work, you have to be | . . . The feeling for the things themselves, for |
| sure that you haven't left any holes, that you've | reality, is more important than the feeling for |
| captured everything, because afterwards it will | pictures. - Vincent Van Gogh |
| be too late. - Henri Cartier Bresson | |
| | [Photography] is a way of feeling, of touching, |
| I think you have to have a real point of view | of loving. What you have caught on film is |
| that's your own. You have to tell it your way. | captured forever . . . it remembers little things, |
| And, I think that it's a mistake to shoot for a | long after you have forgotten everything. |
| specific magazine's point of view because it's | - Aaron Siskind |
| never going to be as good. You have to shoot | |
| for yourself and photograph [the way] you | |
| believe it. - Mary Ellen Mark | |
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