| A mad, keen photographer needs to get out | Pictures you have taken have an influence on |
| into the world and work and make mistakes. | those that you are going to make. |
| - Sam Abell | That's life! - John Sexton |
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| The virtue of the camera is not the power it | I think you have to have a real point of view |
| has to transform the photographer into an | that's your own. You have to tell it your way. |
| artist, but the impulse it gives him to keep on | And, I think that it's a mistake to shoot for a |
| looking. - Brooks Anderson | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| My own eyes are no more than scouts on a | for yourself and photograph [the way] you |
| preliminary search, for the camera's eye may | believe it. - Mary Ellen Mark |
| entirely change my idea. - Edward | |
| Weston | |
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Los Angeles |
San Diego |
Las Vegas |
Fort Wayne |
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Hot Springs |
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| It is not the language of painters but the | Keep it simple. - Alfred Eienstaedt |
| language of nature which one should listen to. | |
| . . . The feeling for the things themselves, for | You learn to see by practice. It's just like |
| reality, is more important than the feeling for | playing tennis, you get better the more you |
| pictures. - Vincent Van Gogh | play. The more you look around at things, the |
| | more you see. The more you photograph, the |
| Now to consult the rules of composition before | more you realize what can be photographed |
| making a picture is a little like consulting the | and what can't be photographed. You just have |
| law of gravitation before going for a walk. | to keep doing it. - Eliot Porter |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | |
| reflection . . . - Edward Weston | |
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