| My own eyes are no more than scouts on a | You learn to see by practice. It's just like |
| preliminary search, for the camera's eye may | playing tennis, you get better the more you |
| entirely change my idea. - Edward | play. The more you look around at things, the |
| Weston | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| The virtue of the camera is not the power it | and what can't be photographed. You just have |
| has to transform the photographer into an | to keep doing it. - Eliot Porter |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | A good picture is equivalent to a good deed. |
| | - Vincent Van Gogh |
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Brooklyn |
Jacksonville |
Tucson |
New York |
Corpus Christi |
Chattanooga |
Toms River |
Rome |
Macon |
Bainbridge |
Columbia |
Toledo |
Gallatin |
Middleboro |
Ebensburg |
Warren |
Sanford |
Paragould |
Deerfield Beach |
East Hanover |
Lancaster |
Pharr |
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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 | |
| | "Simply look with perceptive eyes at the |
| Photography is about finding out what can | world about you, and trust to your own |
| happen in the frame. When you put four | reactions and convictions. Ask yourself: |
| edges around some facts, you change those | "Does this subject move me to feel, think |
| facts. - Gary Winogrand | and dream? Can I visualize a print - my own |
| | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| | - Ansel Adams |
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