| The virtue of the camera is not the power it | A picture is the expression of an impression. If |
| has to transform the photographer into an | the beautiful were not in us, how would we |
| artist, but the impulse it gives him to keep on | ever recognize it? - Ernst Haas |
| looking. - Brooks Anderson | |
| | A great photograph is one that fully expresses |
| A mad, keen photographer needs to get out | what one feels, in the deepest sense, about |
| into the world and work and make mistakes. | what is being photographed. - Ansel |
| - Sam Abell | Adams |
| | |
| The difficulty with color is to go beyond the | No place is boring, if you've had a good |
| fact that it's color to have it be not just a | night's sleep and have a pocket full of |
| colorful picture but really be a picture about | unexposed film. - Robert Adams |
| something. It's difficult. So often color gets | |
| 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 Diego |
Chicago |
New Orleans |
Houma |
Oakland |
Bozeman |
Huntington Beach |
Anacortes |
Hanover |
Woodstock |
Warrensburg |
Villa Rica |
Fairborn |
Glen Ellyn |
Broken Arrow |
Westport |
Soledad |
Triangle |
North Olmsted |
Fair Lawn |
Richmond |
Fostoria |
Malvern |
Keokuk |
Richfield |
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| Memory is very important, the memory of | Once photography enters your bloodstream, |
| each photo taken, flowing at the same speed | it's like a disease. - Anon |
| as the event. During the work, you have to be | |
| sure that you haven't left any holes, that you've | There is nothing worse than a sharp image of |
| captured everything, because afterwards it will | a fuzzy concept. - Ansel Adams |
| be too late. - Henri Cartier Bresson | |
| | Above all, it's hard learning to live with vivid |
| I think you have to have a real point of view | mental images of scenes I cared for and failed |
| that's your own. You have to tell it your way. | to photograph. It is the edgy existence within |
| And, I think that it's a mistake to shoot for a | me of these unmade images that is the only |
| specific magazine's point of view because it's | assurance that the best photographs are yet to |
| never going to be as good. You have to shoot | be made. - Sam Abell |
| for yourself and photograph [the way] you | |
| believe it. - Mary Ellen Mark | |
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