| One should really use the camera as though | Memory is very important, the memory of |
| tomorrow you'd be stricken blind. | each photo taken, flowing at the same speed |
| - Dorothea Lange | as the event. During the work, you have to be |
| | sure that you haven't left any holes, that you've |
| A mad, keen photographer needs to get out | captured everything, because afterwards it will |
| into the world and work and make mistakes. | be too late. - Henri Cartier Bresson |
| - Sam Abell | |
| | Photography is about finding out what can |
| The difficulty with color is to go beyond the | happen in the frame. When you put four |
| fact that it's color to have it be not just a | edges around some facts, you change those |
| colorful picture but really be a picture about | facts. - Gary Winogrand |
| 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 | |
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New York |
San Diego |
Chicago |
Denver |
Orlando |
Virginia Beach |
Jackson |
Columbus |
Garland |
Fresno |
Zanesville |
Shreveport |
Florence |
Fort Myers |
Burlington |
Ogallala |
Cleburne |
Smyrna |
Aurora |
Peachtree City |
Charleston |
Winder |
Tunkhannock |
Benson |
Covington |
Sulphur Springs |
Eaton |
Southbury |
Wausau |
Placentia |
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| You learn to see by practice. It's just like | "Simply look with perceptive eyes at the |
| playing tennis, you get better the more you | world about you, and trust to your own |
| play. The more you look around at things, the | reactions and convictions. Ask yourself: |
| more you see. The more you photograph, the | "Does this subject move me to feel, think |
| more you realize what can be photographed | and dream? Can I visualize a print - my own |
| and what can't be photographed. You just have | personal statement of what I feel and want to |
| to keep doing it. - Eliot Porter | convey - from the subject before me?" |
| | - Ansel Adams |
| Keep it simple. - Alfred Eienstaedt | |
| | Above all, it's hard learning to live with vivid |
| | mental images of scenes I cared for and failed |
| | to photograph. It is the edgy existence within |
| | me of these unmade images that is the only |
| | assurance that the best photographs are yet to |
| | be made. - Sam Abell |
|