| The difficulty with color is to go beyond the | You learn to see by practice. It's just like |
| fact that it's color to have it be not just a | playing tennis, you get better the more you |
| colorful picture but really be a picture about | play. The more you look around at things, the |
| something. It's difficult. So often color gets | more you see. The more you photograph, the |
| caught up in color, and it becomes merely | more you realize what can be photographed |
| decorative. Some photographers use [ it ] | and what can't be photographed. You just have |
| brilliantly to make visual statements combining | to keep doing it. - Eliot Porter |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | Sometimes you can tell a large story with a |
| | tiny subject. - Eliot Porter |
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Atlanta |
Phoenix |
San Antonio |
Colorado Springs |
Orlando |
Baltimore |
Austin |
Des Moines |
Mesa |
Tucson |
Westbury |
Decatur |
Pensacola |
Ennis |
West Allis |
Edmond |
Hudson |
Oak Creek |
Terrell |
Grand Island |
Marble Falls |
Frankfort |
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| You've got to push yourself harder. You've got | Photography takes an instant out of time, |
| to start looking for pictures nobody else could | altering life by holding it still. - Dorothea |
| take. You've got to take the tools you have and | Lange |
| probe deeper. - William Albert Allard | |
| | There is nothing worse than a sharp image of |
| I think you have to have a real point of view | a fuzzy concept. - Ansel Adams |
| that's your own. You have to tell it your way. | |
| And, I think that it's a mistake to shoot for a | It is not the language of painters but the |
| specific magazine's point of view because it's | language of nature which one should listen to. |
| never going to be as good. You have to shoot | . . . The feeling for the things themselves, for |
| for yourself and photograph [the way] you | reality, is more important than the feeling for |
| believe it. - Mary Ellen Mark | pictures. - Vincent Van Gogh |
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