| Keep it simple. - Alfred Eienstaedt | Pictures you have taken have an influence on |
| | those that you are going to make. |
| I think the best pictures are often on the edges | That's life! - John Sexton |
| of any situation, I don't find photographing the | |
| situation nearly as interesting as | I think you have to have a real point of view |
| photographing the edges. - William Albert | that's your own. You have to tell it your way. |
| Allard | And, I think that it's a mistake to shoot for a |
| | specific magazine's point of view because it's |
| Sometimes you can tell a large story with a | never going to be as good. You have to shoot |
| tiny subject. - Eliot Porter | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
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Cincinnati |
Omaha |
Boston |
San Diego |
Worcester |
Anniston |
Saranac Lake |
Southampton |
Sacramento |
Bastrop |
Fishkill |
Worland |
Merced |
Gillette |
Marshall |
Marathon |
Branford |
Salida |
Dover |
Tupelo |
Sedona |
Montpelier |
Smithville |
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| I almost never set out to photograph a | [Photography] is a way of feeling, of touching, |
| landscape, nor do I think of my camera as a | of loving. What you have caught on film is |
| means of recording a mountain or an animal | captured forever . . . it remembers little things, |
| unless I absolutely need a 'record shot'. My | long after you have forgotten everything. |
| first thought is always of light. - Galen | - Aaron Siskind |
| Rowell | |
| | "Simply look with perceptive eyes at the |
| The virtue of the camera is not the power it | world about you, and trust to your own |
| has to transform the photographer into an | reactions and convictions. Ask yourself: |
| artist, but the impulse it gives him to keep on | "Does this subject move me to feel, think |
| looking. - Brooks Anderson | 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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