| I think you have to have a real point of view | The virtue of the camera is not the power it |
| that's your own. You have to tell it your way. | has to transform the photographer into an |
| And, I think that it's a mistake to shoot for a | artist, but the impulse it gives him to keep on |
| specific magazine's point of view because it's | looking. - Brooks Anderson |
| never going to be as good. You have to shoot | |
| for yourself and photograph [the way] you | A mad, keen photographer needs to get out |
| believe it. - Mary Ellen Mark | into the world and work and make mistakes. |
| | - Sam Abell |
| Memory is very important, the memory of | |
| each photo taken, flowing at the same speed | The difficulty with color is to go beyond the |
| as the event. During the work, you have to be | fact that it's color to have it be not just a |
| sure that you haven't left any holes, that you've | colorful picture but really be a picture about |
| captured everything, because afterwards it will | something. It's difficult. So often color gets |
| be too late. - Henri Cartier Bresson | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
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Portland |
New York |
Minneapolis |
Hattiesburg |
Santa Barbara |
Fort Smith |
Williamsport |
Irving |
Racine |
Wytheville |
Hillsboro |
Vandalia |
Toms River |
Franklin Park |
De Soto |
Chattanooga |
Kingman |
Alva |
Tewksbury |
Saugerties |
Greensboro |
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| It is not the language of painters but the | Keep it simple. - Alfred Eienstaedt |
| language of nature which one should listen to. | |
| . . . The feeling for the things themselves, for | Sometimes you can tell a large story with a |
| reality, is more important than the feeling for | tiny subject. - Eliot Porter |
| pictures. - Vincent Van Gogh | |
| | No place is boring, if you've had a good |
| Photography is my passion. - Alfred | night's sleep and have a pocket full of |
| Stieglitz | unexposed film. - Robert Adams |
| | |
| There is nothing worse than a sharp image of | I think the best pictures are often on the edges |
| a fuzzy concept. - Ansel Adams | of any situation, I don't find photographing the |
| | situation nearly as interesting as |
| | photographing the edges. - William Albert |
| | Allard |
|