| A mad, keen photographer needs to get out | I think you have to have a real point of view |
| into the world and work and make mistakes. | that's your own. You have to tell it your way. |
| - Sam Abell | And, I think that it's a mistake to shoot for a |
| | specific magazine's point of view because it's |
| My own eyes are no more than scouts on a | never going to be as good. You have to shoot |
| preliminary search, for the camera's eye may | for yourself and photograph [the way] you |
| entirely change my idea. - Edward | believe it. - Mary Ellen Mark |
| Weston | |
| | Photography records the gamut of feelings |
| Photography suits the temper of this ageof | written on the human face, the beauty of the |
| active bodies and minds. It is a perfect | earth and skies that man has inherited and the |
| medium for one whose mind is teeming with | wealth and confusion man has created. |
| ideas, imagery, for a prolific worker who | - Edward Steichen |
| would be slowed down by painting or | |
| sculpting, for one who sees quickly and acts | |
| decisively, accurately. - Edward Weston | |
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| [Photography] is a way of feeling, of touching, | I think the best pictures are often on the edges |
| of loving. What you have caught on film is | of any situation, I don't find photographing the |
| captured forever . . . it remembers little things, | situation nearly as interesting as |
| long after you have forgotten everything. | photographing the edges. - William Albert |
| - Aaron Siskind | Allard |
| | |
| Above all, it's hard learning to live with vivid | A picture is the expression of an impression. If |
| mental images of scenes I cared for and failed | the beautiful were not in us, how would we |
| to photograph. It is the edgy existence within | ever recognize it? - Ernst Haas |
| 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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