| Now to consult the rules of composition before | No place is boring, if you've had a good |
| making a picture is a little like consulting the | night's sleep and have a pocket full of |
| law of gravitation before going for a walk. | unexposed film. - Robert Adams |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | A good picture is equivalent to a good deed. |
| reflection . . . - Edward Weston | - Vincent Van Gogh |
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| It is not the language of painters but the | You can find pictures anywhere. It's simply a |
| language of nature which one should listen to. | matter of noticing things and organizing them. |
| . . . The feeling for the things themselves, for | You just have to care about what's around you |
| reality, is more important than the feeling for | and have a concern with humanity and the |
| pictures. - Vincent Van Gogh | human comedy. - Elliott Erwitt |
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| One should really use the camera as though | Photography is about finding out what can |
| tomorrow you'd be stricken blind. | happen in the frame. When you put four |
| - Dorothea Lange | edges around some facts, you change those |
| | facts. - Gary Winogrand |
| My own eyes are no more than scouts on a | |
| preliminary search, for the camera's eye may | Photography records the gamut of feelings |
| entirely change my idea. - Edward | written on the human face, the beauty of the |
| Weston | earth and skies that man has inherited and the |
| | wealth and confusion man has created. |
| The virtue of the camera is not the power it | - Edward Steichen |
| has to transform the photographer into an | |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | |
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