| Photography is a major force in explaining | The virtue of the camera is not the power it |
| man to man. - Edward Steichen | has to transform the photographer into an |
| | artist, but the impulse it gives him to keep on |
| Photography knows how to authenticate its | looking. - Brooks Anderson |
| misrepresentations. - Mason Cooley | |
| | One should really use the camera as though |
| I think you have to have a real point of view | tomorrow you'd be stricken blind. |
| that's your own. You have to tell it your way. | - Dorothea Lange |
| And, I think that it's a mistake to shoot for a | |
| specific magazine's point of view because it's | The difficulty with color is to go beyond the |
| never going to be as good. You have to shoot | fact that it's color to have it be not just a |
| for yourself and photograph [the way] you | colorful picture but really be a picture about |
| believe it. - Mary Ellen Mark | 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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San Diego |
Indianapolis |
San Antonio |
Tampa |
Richmond |
South Bend |
Bellevue |
Belleville |
Houma |
Tupelo |
Lake Worth |
Port Angeles |
Talladega |
Chesterfield |
Ketchum |
Hot Springs |
Rogers |
Bruswick |
Port Clinton |
Newark |
Gaylord |
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| [Photography] is a way of feeling, of touching, | A great photograph is one that fully expresses |
| of loving. What you have caught on film is | what one feels, in the deepest sense, about |
| captured forever . . . it remembers little things, | what is being photographed. - Ansel |
| long after you have forgotten everything. | Adams |
| - Aaron Siskind | |
| | 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 | |
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