| A mad, keen photographer needs to get out | You've got to push yourself harder. You've got |
| into the world and work and make mistakes. | to start looking for pictures nobody else could |
| - Sam Abell | take. You've got to take the tools you have and |
| | probe deeper. - William Albert Allard |
| The camera makes everyone a tourist in other | |
| people's reality. - Susan Sontag | Memory is very important, the memory of |
| | each photo taken, flowing at the same speed |
| One should really use the camera as though | as the event. During the work, you have to be |
| tomorrow you'd be stricken blind. | sure that you haven't left any holes, that you've |
| - Dorothea Lange | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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| It is not the language of painters but the | A great photograph is one that fully expresses |
| language of nature which one should listen to. | what one feels, in the deepest sense, about |
| . . . The feeling for the things themselves, for | what is being photographed. - Ansel |
| reality, is more important than the feeling for | Adams |
| pictures. - Vincent Van Gogh | |
| | Sometimes you can tell a large story with a |
| "Simply look with perceptive eyes at the | tiny subject. - Eliot Porter |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | A picture is the expression of an impression. If |
| "Does this subject move me to feel, think | the beautiful were not in us, how would we |
| and dream? Can I visualize a print - my own | ever recognize it? - Ernst Haas |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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