| My own eyes are no more than scouts on a | Memory is very important, the memory of |
| preliminary search, for the camera's eye may | each photo taken, flowing at the same speed |
| entirely change my idea. - Edward | as the event. During the work, you have to be |
| Weston | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| The difficulty with color is to go beyond the | be too late. - Henri Cartier Bresson |
| fact that it's color to have it be not just a | |
| colorful picture but really be a picture about | Photography is a major force in explaining |
| something. It's difficult. So often color gets | man to man. - Edward Steichen |
| 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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Los Angeles |
New York |
Las Vegas |
Chicago |
Knoxville |
Tyler |
Metairie |
Tempe |
Lynchburg |
Kokomo |
Lorain |
Columbia |
De Soto |
Baraboo |
Henderson |
Sanford |
Red Bluff |
Bristol |
Middletown |
Twinsburg |
West Covina |
Iola |
Campbell |
Elkton |
Hartford |
Canton |
Roosevelt |
Florissant |
Blairsville |
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| Photography is my passion. - Alfred | A good picture is equivalent to a good deed. |
| Stieglitz | - Vincent Van Gogh |
| | |
| "Simply look with perceptive eyes at the | Keep it simple. - Alfred Eienstaedt |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | A great photograph is one that fully expresses |
| "Does this subject move me to feel, think | what one feels, in the deepest sense, about |
| and dream? Can I visualize a print - my own | what is being photographed. - Ansel |
| personal statement of what I feel and want to | Adams |
| convey - from the subject before me?" | |
| - Ansel Adams | |
|