| Now to consult the rules of composition before | Memory is very important, the memory of |
| making a picture is a little like consulting the | each photo taken, flowing at the same speed |
| law of gravitation before going for a walk. | as the event. During the work, you have to be |
| Such rules and laws are deduced from the | sure that you haven't left any holes, that you've |
| accomplished fact; they are the products of | captured everything, because afterwards it will |
| reflection . . . - Edward Weston | be too late. - Henri Cartier Bresson |
| | |
| There is nothing worse than a sharp image of | I think you have to have a real point of view |
| a fuzzy concept. - Ansel Adams | that's your own. You have to tell it your way. |
| | And, I think that it's a mistake to shoot for a |
| | 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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|
Phoenix |
Brooklyn |
Birmingham |
Santa Barbara |
Orange Park |
Toms River |
Inglewood |
Stockbridge |
Kalamazoo |
Littleton |
Indianapolis |
Canoga Park |
Nederland |
Bronx |
Hohenwald |
Cookeville |
Neenah |
Mesquite |
Mount Dora |
Lubbock |
West Dundee |
Deridder |
Marble Falls |
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| A mad, keen photographer needs to get out | Sometimes you can tell a large story with a |
| into the world and work and make mistakes. | tiny subject. - Eliot Porter |
| - Sam Abell | |
| | A picture is the expression of an impression. If |
| My own eyes are no more than scouts on a | the beautiful were not in us, how would we |
| preliminary search, for the camera's eye may | ever recognize it? - Ernst Haas |
| entirely change my idea. - Edward | |
| Weston | You learn to see by practice. It's just like |
| | playing tennis, you get better the more you |
| The difficulty with color is to go beyond the | play. The more you look around at things, the |
| fact that it's color to have it be not just a | more you see. The more you photograph, the |
| colorful picture but really be a picture about | more you realize what can be photographed |
| something. It's difficult. So often color gets | and what can't be photographed. You just have |
| caught up in color, and it becomes merely | to keep doing it. - Eliot Porter |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
|