| Memory is very important, the memory of | My own eyes are no more than scouts on a |
| each photo taken, flowing at the same speed | preliminary search, for the camera's eye may |
| as the event. During the work, you have to be | entirely change my idea. - Edward |
| sure that you haven't left any holes, that you've | Weston |
| captured everything, because afterwards it will | |
| be too late. - Henri Cartier Bresson | The difficulty with color is to go beyond the |
| | fact that it's color to have it be not just a |
| Pictures you have taken have an influence on | colorful picture but really be a picture about |
| those that you are going to make. | something. It's difficult. So often color gets |
| That's life! - John Sexton | 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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Houston |
San Francisco |
Albuquerque |
Minneapolis |
Cedar Rapids |
Colorado Springs |
Long Beach |
Atlanta |
Jackson |
Tallahassee |
Merced |
Findlay |
Warren |
Lexington |
Terrell |
Page |
Beloit |
Palm Bay |
Artesia |
Plainwell |
Macon |
Morgan City |
Mill Valley |
Romeoville |
Cummings |
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| Keep it simple. - Alfred Eienstaedt | Now to consult the rules of composition before |
| | making a picture is a little like consulting the |
| No place is boring, if you've had a good | law of gravitation before going for a walk. |
| night's sleep and have a pocket full of | Such rules and laws are deduced from the |
| unexposed film. - Robert Adams | accomplished fact; they are the products of |
| | reflection . . . - Edward Weston |
| A great photograph is one that fully expresses | |
| what one feels, in the deepest sense, about | Photography takes an instant out of time, |
| what is being photographed. - Ansel | altering life by holding it still. - Dorothea |
| Adams | Lange |
|