| It is not the language of painters but the | I think you have to have a real point of view |
| language of nature which one should listen to. | that's your own. You have to tell it your way. |
| . . . The feeling for the things themselves, for | And, I think that it's a mistake to shoot for a |
| reality, is more important than the feeling for | specific magazine's point of view because it's |
| pictures. - Vincent Van Gogh | never going to be as good. You have to shoot |
| | for yourself and photograph [the way] you |
| There is nothing worse than a sharp image of | believe it. - Mary Ellen Mark |
| a fuzzy concept. - Ansel Adams | |
| | Memory is very important, the memory of |
| [Photography] is a way of feeling, of touching, | each photo taken, flowing at the same speed |
| of loving. What you have caught on film is | as the event. During the work, you have to be |
| captured forever . . . it remembers little things, | sure that you haven't left any holes, that you've |
| long after you have forgotten everything. | captured everything, because afterwards it will |
| - Aaron Siskind | be too late. - Henri Cartier Bresson |
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Los Angeles |
Tucson |
San Antonio |
Chicago |
New Port Richey |
Herndon |
Columbia |
Homosassa |
Yucca Valley |
Schaumburg |
Hereford |
St. Louis |
Sikeston |
Enid |
Palo Alto |
Lancaster |
Paintsville |
Malibu |
Solano Beach |
Clarksville |
Exmore |
Watertown |
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| You learn to see by practice. It's just like | I almost never set out to photograph a |
| playing tennis, you get better the more you | landscape, nor do I think of my camera as a |
| play. The more you look around at things, the | means of recording a mountain or an animal |
| more you see. The more you photograph, the | unless I absolutely need a 'record shot'. My |
| more you realize what can be photographed | first thought is always of light. - Galen |
| and what can't be photographed. You just have | Rowell |
| to keep doing it. - Eliot Porter | |
| | The difficulty with color is to go beyond the |
| Sometimes you can tell a large story with a | fact that it's color to have it be not just a |
| tiny subject. - Eliot Porter | colorful picture but really be a picture about |
| | something. It's difficult. So often color gets |
| | 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 |
|