| "Simply look with perceptive eyes at the | You've got to push yourself harder. You've got |
| world about you, and trust to your own | to start looking for pictures nobody else could |
| reactions and convictions. Ask yourself: | take. You've got to take the tools you have and |
| "Does this subject move me to feel, think | probe deeper. - William Albert Allard |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | Memory is very important, the memory of |
| convey - from the subject before me?" | each photo taken, flowing at the same speed |
| - Ansel Adams | as the event. During the work, you have to be |
| | sure that you haven't left any holes, that you've |
| It is not the language of painters but the | captured everything, because afterwards it will |
| language of nature which one should listen to. | be too late. - Henri Cartier Bresson |
| . . . The feeling for the things themselves, for | |
| reality, is more important than the feeling for | |
| pictures. - Vincent Van Gogh | |
|
|
Indianapolis |
Louisville |
Knoxville |
Cincinnati |
Albany |
Cookeville |
Springfield |
Cleveland |
Modesto |
Berlin |
Cheyenne |
Crescent City |
Charlottesville |
Kirkland |
Sioux City |
Oak Hill |
Norwalk |
Aurora |
Dayton |
Ortonville |
Emmitsburg |
Denville |
Frankfurt |
|
|
| A good picture is equivalent to a good deed. | A mad, keen photographer needs to get out |
| - Vincent Van Gogh | into the world and work and make mistakes. |
| | - Sam Abell |
| I think the best pictures are often on the edges | |
| of any situation, I don't find photographing the | The virtue of the camera is not the power it |
| situation nearly as interesting as | has to transform the photographer into an |
| photographing the edges. - William Albert | artist, but the impulse it gives him to keep on |
| Allard | looking. - Brooks Anderson |
| | |
| No place is boring, if you've had a good | The difficulty with color is to go beyond the |
| night's sleep and have a pocket full of | fact that it's color to have it be not just a |
| unexposed film. - Robert Adams | colorful picture but really be a picture about |
| | 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 |
|