| "Simply look with perceptive eyes at the | Memory is very important, the memory of |
| world about you, and trust to your own | each photo taken, flowing at the same speed |
| reactions and convictions. Ask yourself: | as the event. During the work, you have to be |
| "Does this subject move me to feel, think | sure that you haven't left any holes, that you've |
| and dream? Can I visualize a print - my own | captured everything, because afterwards it will |
| personal statement of what I feel and want to | be too late. - Henri Cartier Bresson |
| convey - from the subject before me?" | |
| - Ansel Adams | You've got to push yourself harder. You've got |
| | to start looking for pictures nobody else could |
| [Photography] is a way of feeling, of touching, | take. You've got to take the tools you have and |
| of loving. What you have caught on film is | probe deeper. - William Albert Allard |
| captured forever . . . it remembers little things, | |
| long after you have forgotten everything. | |
| - Aaron Siskind | |
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|
Houston |
Long Beach |
Columbus |
Scottsdale |
Miami |
Durham |
North Little Rock |
Des Moines |
Belleville |
Searcy |
Lawrenceville |
Chino |
Angleton |
Junction |
Paris |
Marion |
Trevose |
El Segundo |
Delta |
Latrobe |
Urbana |
Mt. Airy |
Overton |
Lindale |
Olympia |
Goshen |
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| The virtue of the camera is not the power it | Sometimes you can tell a large story with a |
| has to transform the photographer into an | tiny subject. - Eliot Porter |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | A picture is the expression of an impression. If |
| | the beautiful were not in us, how would we |
| One should really use the camera as though | ever recognize it? - Ernst Haas |
| tomorrow you'd be stricken blind. | |
| - Dorothea Lange | Keep it simple. - Alfred Eienstaedt |
| | |
| A mad, keen photographer needs to get out | I think the best pictures are often on the edges |
| into the world and work and make mistakes. | of any situation, I don't find photographing the |
| - Sam Abell | situation nearly as interesting as |
| | photographing the edges. - William Albert |
| | Allard |
|