| A mad, keen photographer needs to get out | No place is boring, if you've had a good |
| into the world and work and make mistakes. | night's sleep and have a pocket full of |
| - Sam Abell | unexposed film. - Robert Adams |
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| The virtue of the camera is not the power it | Sometimes you can tell a large story with a |
| has to transform the photographer into an | tiny subject. - Eliot Porter |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | A great photograph is one that fully expresses |
| | what one feels, in the deepest sense, about |
| One should really use the camera as though | what is being photographed. - Ansel |
| tomorrow you'd be stricken blind. | Adams |
| - Dorothea Lange | |
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Houston |
Brooklyn |
Portland |
El Paso |
Tulsa |
Los Angeles |
Olympia |
Beckley |
Brunswick |
Fort Worth |
Tulare |
Lake Geneva |
North Bergen |
Oak Park |
Flemington |
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Orange |
Bellevue |
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Ashland |
Fall River |
Tarrytown |
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| Photography knows how to authenticate its | [Photography] is a way of feeling, of touching, |
| misrepresentations. - Mason Cooley | of loving. What you have caught on film is |
| | captured forever . . . it remembers little things, |
| Pictures you have taken have an influence on | long after you have forgotten everything. |
| those that you are going to make. | - Aaron Siskind |
| That's life! - John Sexton | |
| | "Simply look with perceptive eyes at the |
| Memory is very important, the memory of | world about you, and trust to your own |
| each photo taken, flowing at the same speed | reactions and convictions. Ask yourself: |
| as the event. During the work, you have to be | "Does this subject move me to feel, think |
| sure that you haven't left any holes, that you've | and dream? Can I visualize a print - my own |
| captured everything, because afterwards it will | personal statement of what I feel and want to |
| be too late. - Henri Cartier Bresson | convey - from the subject before me?" |
| | - Ansel Adams |
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