| Keep it simple. - Alfred Eienstaedt | The difficulty with color is to go beyond the |
| | fact that it's color to have it be not just a |
| A picture is the expression of an impression. If | colorful picture but really be a picture about |
| the beautiful were not in us, how would we | something. It's difficult. So often color gets |
| ever recognize it? - Ernst Haas | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| A great photograph is one that fully expresses | brilliantly to make visual statements combining |
| what one feels, in the deepest sense, about | color and content; otherwise it is empty. |
| what is being photographed. - Ansel | - Mary Ellen Mark |
| Adams | |
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New York |
Houston |
Portland |
Fresno |
Greensboro |
South Bend |
Jersey City |
Somerset |
Springfield |
Hauppauge |
Butte |
Fort Wayne |
Spokane |
Enterprise |
Cherokee |
Arlington |
Barre |
East Haven |
Benson |
Brook Park |
Nephi |
Brady |
Kittery |
Mansfield |
Plymouth |
Urbandale |
Oak Park |
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| Memory is very important, the memory of | It is not the language of painters but the |
| each photo taken, flowing at the same speed | language of nature which one should listen to. |
| as the event. During the work, you have to be | . . . The feeling for the things themselves, for |
| sure that you haven't left any holes, that you've | reality, is more important than the feeling for |
| captured everything, because afterwards it will | pictures. - Vincent Van Gogh |
| be too late. - Henri Cartier Bresson | |
| | There is nothing worse than a sharp image of |
| Photography records the gamut of feelings | a fuzzy concept. - Ansel Adams |
| written on the human face, the beauty of the | |
| earth and skies that man has inherited and the | Photography takes an instant out of time, |
| wealth and confusion man has created. | altering life by holding it still. - Dorothea |
| - Edward Steichen | Lange |
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