| My own eyes are no more than scouts on a | Memory is very important, the memory of |
| preliminary search, for the camera's eye may | each photo taken, flowing at the same speed |
| entirely change my idea. - Edward | as the event. During the work, you have to be |
| Weston | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| The virtue of the camera is not the power it | be too late. - Henri Cartier Bresson |
| has to transform the photographer into an | |
| artist, but the impulse it gives him to keep on | Photography is a major force in explaining |
| looking. - Brooks Anderson | man to man. - Edward Steichen |
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Houston |
Tulsa |
Seattle |
Austin |
Amarillo |
Gainesville |
Baltimore |
Spokane |
Olympia |
Vallejo |
Booneville |
Newton |
Urbana |
Malone |
Opelousas |
Pierre |
Urbandale |
Price |
Grants |
Valley |
Topeka |
Canoga Park |
Warren |
Brownfield |
Thedford |
North Bend |
Columbia |
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| "Simply look with perceptive eyes at the | I think the best pictures are often on the edges |
| world about you, and trust to your own | of any situation, I don't find photographing the |
| reactions and convictions. Ask yourself: | situation nearly as interesting as |
| "Does this subject move me to feel, think | photographing the edges. - William Albert |
| and dream? Can I visualize a print - my own | Allard |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | You can find pictures anywhere. It's simply a |
| - Ansel Adams | matter of noticing things and organizing them. |
| | You just have to care about what's around you |
| There is nothing worse than a sharp image of | and have a concern with humanity and the |
| a fuzzy concept. - Ansel Adams | human comedy. - Elliott Erwitt |
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