| A great photograph is one that fully expresses | You've got to push yourself harder. You've got |
| what one feels, in the deepest sense, about | to start looking for pictures nobody else could |
| what is being photographed. - Ansel | take. You've got to take the tools you have and |
| Adams | probe deeper. - William Albert Allard |
| | |
| You learn to see by practice. It's just like | Pictures you have taken have an influence on |
| playing tennis, you get better the more you | those that you are going to make. |
| play. The more you look around at things, the | That's life! - John Sexton |
| more you see. The more you photograph, the | |
| more you realize what can be photographed | Photography records the gamut of feelings |
| and what can't be photographed. You just have | written on the human face, the beauty of the |
| to keep doing it. - Eliot Porter | earth and skies that man has inherited and the |
| | wealth and confusion man has created. |
| | - Edward Steichen |
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Houston |
Orlando |
Phoenix |
Cleveland |
Bakersfield |
Providence |
Yonkers |
Palm Beach Gardens |
Independence |
Campbell |
Corpus Christi |
Kingsport |
Plymouth |
Bensalem |
Findlay |
Princeton |
Henderson |
Andover |
Federal Way |
Charlotte |
Corbin |
Southaven |
Dexter |
Clarksville |
Greenville |
Mitchell |
Douglas |
Tuscola |
Asbury Park |
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| Now to consult the rules of composition before | Photography suits the temper of this ageof |
| making a picture is a little like consulting the | active bodies and minds. It is a perfect |
| law of gravitation before going for a walk. | medium for one whose mind is teeming with |
| Such rules and laws are deduced from the | ideas, imagery, for a prolific worker who |
| accomplished fact; they are the products of | would be slowed down by painting or |
| reflection . . . - Edward Weston | sculpting, for one who sees quickly and acts |
| | decisively, accurately. - Edward Weston |
| "Simply look with perceptive eyes at the | |
| world about you, and trust to your own | A mad, keen photographer needs to get out |
| reactions and convictions. Ask yourself: | into the world and work and make mistakes. |
| "Does this subject move me to feel, think | - Sam Abell |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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