| Photography suits the temper of this ageof | Keep it simple. - Alfred Eienstaedt |
| active bodies and minds. It is a perfect | |
| medium for one whose mind is teeming with | You can find pictures anywhere. It's simply a |
| ideas, imagery, for a prolific worker who | matter of noticing things and organizing them. |
| would be slowed down by painting or | You just have to care about what's around you |
| sculpting, for one who sees quickly and acts | and have a concern with humanity and the |
| decisively, accurately. - Edward Weston | human comedy. - Elliott Erwitt |
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| The difficulty with color is to go beyond the | A great photograph is one that fully expresses |
| fact that it's color to have it be not just a | what one feels, in the deepest sense, about |
| colorful picture but really be a picture about | what is being photographed. - Ansel |
| something. It's difficult. So often color gets | Adams |
| caught up in color, and it becomes merely | |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
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San Jose |
St. Louis |
Milwaukee |
Norfolk |
Reading |
White Plains |
Beaufort |
Schenectady |
Pueblo |
Hayward |
Pensacola |
Greenfield |
San Bruno |
Rancho Cordova |
Canton |
Reseda |
Charleston |
Elizabeth City |
Sunriver |
West Springfield |
Walcott |
Elmsford |
Red Wing |
San Juan |
Mammoth Lakes |
Goldsboro |
Cape Charles |
Lytle |
Lancaster |
Piqua |
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| Memory is very important, the memory of | Now to consult the rules of composition before |
| each photo taken, flowing at the same speed | making a picture is a little like consulting the |
| as the event. During the work, you have to be | law of gravitation before going for a walk. |
| sure that you haven't left any holes, that you've | Such rules and laws are deduced from the |
| captured everything, because afterwards it will | accomplished fact; they are the products of |
| be too late. - Henri Cartier Bresson | reflection . . . - Edward Weston |
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| I think you have to have a real point of view | Above all, it's hard learning to live with vivid |
| that's your own. You have to tell it your way. | mental images of scenes I cared for and failed |
| And, I think that it's a mistake to shoot for a | to photograph. It is the edgy existence within |
| specific magazine's point of view because it's | me of these unmade images that is the only |
| never going to be as good. You have to shoot | assurance that the best photographs are yet to |
| for yourself and photograph [the way] you | be made. - Sam Abell |
| believe it. - Mary Ellen Mark | |
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