| One should really use the camera as though | Photography records the gamut of feelings |
| tomorrow you'd be stricken blind. | written on the human face, the beauty of the |
| - Dorothea Lange | earth and skies that man has inherited and the |
| | wealth and confusion man has created. |
| The difficulty with color is to go beyond the | - Edward Steichen |
| fact that it's color to have it be not just a | |
| colorful picture but really be a picture about | Pictures you have taken have an influence on |
| something. It's difficult. So often color gets | those that you are going to make. |
| caught up in color, and it becomes merely | That's life! - John Sexton |
| 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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Houston |
Phoenix |
Albuquerque |
Tulsa |
Milwaukee |
Wilmington |
Flushing |
Portland |
Newark |
Gulfport |
Raleigh |
Oak Lawn |
Southgate |
Atmore |
Hollywood |
Newnan |
Texarkana |
Glen Ellyn |
Delano |
San Benito |
Rockford |
Flat Rock |
Goodland |
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| It is not the language of painters but the | A great photograph is one that fully expresses |
| language of nature which one should listen to. | what one feels, in the deepest sense, about |
| . . . The feeling for the things themselves, for | what is being photographed. - Ansel |
| reality, is more important than the feeling for | Adams |
| pictures. - Vincent Van Gogh | |
| | Keep it simple. - Alfred Eienstaedt |
| Now to consult the rules of composition before | |
| making a picture is a little like consulting the | I think the best pictures are often on the edges |
| law of gravitation before going for a walk. | of any situation, I don't find photographing the |
| Such rules and laws are deduced from the | situation nearly as interesting as |
| accomplished fact; they are the products of | photographing the edges. - William Albert |
| reflection . . . - Edward Weston | Allard |
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