| Photography records the gamut of feelings | The virtue of the camera is not the power it |
| written on the human face, the beauty of the | has to transform the photographer into an |
| earth and skies that man has inherited and the | artist, but the impulse it gives him to keep on |
| wealth and confusion man has created. | looking. - Brooks Anderson |
| - Edward Steichen | |
| | Photography suits the temper of this ageof |
| Photography is a major force in explaining | active bodies and minds. It is a perfect |
| man to man. - Edward Steichen | medium for one whose mind is teeming with |
| | ideas, imagery, for a prolific worker who |
| I think you have to have a real point of view | would be slowed down by painting or |
| that's your own. You have to tell it your way. | sculpting, for one who sees quickly and acts |
| And, I think that it's a mistake to shoot for a | decisively, accurately. - Edward Weston |
| specific magazine's point of view because it's | |
| 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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San Antonio |
Detroit |
Charleston |
Ocala |
Miami |
Spokane |
Jacksonville |
Fort Smith |
Dallas |
Palm Beach Gardens |
Wallingford |
Braintree |
Tamarac |
Oxford |
Bolingbrook |
Norwalk |
Sudbury |
Coralville |
St. Albans |
Fairfield |
Sterling |
Rawlins |
Strongsville |
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| I think the best pictures are often on the edges | It is not the language of painters but the |
| of any situation, I don't find photographing the | language of nature which one should listen to. |
| situation nearly as interesting as | . . . The feeling for the things themselves, for |
| photographing the edges. - William Albert | reality, is more important than the feeling for |
| Allard | pictures. - Vincent Van Gogh |
| | |
| No place is boring, if you've had a good | Once photography enters your bloodstream, |
| night's sleep and have a pocket full of | it's like a disease. - Anon |
| unexposed film. - Robert Adams | |
| | "Simply look with perceptive eyes at the |
| | world about you, and trust to your own |
| | reactions and convictions. Ask yourself: |
| | "Does this subject move me to feel, think |
| | and dream? Can I visualize a print - my own |
| | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| | - Ansel Adams |
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