| I think the best pictures are often on the edges | My own eyes are no more than scouts on a |
| of any situation, I don't find photographing the | preliminary search, for the camera's eye may |
| situation nearly as interesting as | entirely change my idea. - Edward |
| photographing the edges. - William Albert | Weston |
| Allard | |
| | The virtue of the camera is not the power it |
| No place is boring, if you've had a good | has to transform the photographer into an |
| night's sleep and have a pocket full of | artist, but the impulse it gives him to keep on |
| unexposed film. - Robert Adams | looking. - Brooks Anderson |
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Los Angeles |
San Antonio |
Omaha |
Pittsburgh |
Bronx |
Littleton |
Tampa |
Elyria |
Celina |
San Ramon |
Crossville |
Bartlesville |
High Point |
Waverly |
Glens Falls |
Solvang |
Rawlins |
Denham Springs |
Temple |
Mifflintown |
Princeville Hanalei |
Ashland |
Thousand Oaks |
Aurora |
Tualatin |
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| "Simply look with perceptive eyes at the | You've got to push yourself harder. You've got |
| world about you, and trust to your own | to start looking for pictures nobody else could |
| reactions and convictions. Ask yourself: | take. You've got to take the tools you have and |
| "Does this subject move me to feel, think | probe deeper. - William Albert Allard |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | Memory is very important, the memory of |
| convey - from the subject before me?" | each photo taken, flowing at the same speed |
| - Ansel Adams | as the event. During the work, you have to be |
| | sure that you haven't left any holes, that you've |
| Above all, it's hard learning to live with vivid | captured everything, because afterwards it will |
| mental images of scenes I cared for and failed | be too late. - Henri Cartier Bresson |
| to photograph. It is the edgy existence within | |
| me of these unmade images that is the only | |
| assurance that the best photographs are yet to | |
| be made. - Sam Abell | |
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