| "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 | My own eyes are no more than scouts on a |
| convey - from the subject before me?" | preliminary search, for the camera's eye may |
| - Ansel Adams | entirely change my idea. - Edward |
| | Weston |
| Now to consult the rules of composition before | |
| making a picture is a little like consulting the | |
| law of gravitation before going for a walk. | |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | |
| reflection . . . - Edward Weston | |
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| You've got to push yourself harder. You've got | A great photograph is one that fully expresses |
| to start looking for pictures nobody else could | what one feels, in the deepest sense, about |
| take. You've got to take the tools you have and | what is being photographed. - Ansel |
| probe deeper. - William Albert Allard | Adams |
| | |
| Photography records the gamut of feelings | A room hung with pictures is a room hung with |
| written on the human face, the beauty of the | thoughts. - Sir Joshua Reynolds |
| earth and skies that man has inherited and the | |
| wealth and confusion man has created. | You learn to see by practice. It's just like |
| - Edward Steichen | playing tennis, you get better the more you |
| | play. The more you look around at things, the |
| | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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