| The difficulty with color is to go beyond the | You've got to push yourself harder. You've got |
| fact that it's color to have it be not just a | to start looking for pictures nobody else could |
| colorful picture but really be a picture about | take. You've got to take the tools you have and |
| something. It's difficult. So often color gets | probe deeper. - William Albert Allard |
| caught up in color, and it becomes merely | |
| decorative. Some photographers use [ it ] | Memory is very important, the memory of |
| brilliantly to make visual statements combining | each photo taken, flowing at the same speed |
| color and content; otherwise it is empty. | as the event. During the work, you have to be |
| - Mary Ellen Mark | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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| Once photography enters your bloodstream, | A room hung with pictures is a room hung with |
| it's like a disease. - Anon | thoughts. - Sir Joshua Reynolds |
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| [Photography] is a way of feeling, of touching, | Sometimes you can tell a large story with a |
| of loving. What you have caught on film is | tiny subject. - Eliot Porter |
| captured forever . . . it remembers little things, | |
| long after you have forgotten everything. | No place is boring, if you've had a good |
| - Aaron Siskind | night's sleep and have a pocket full of |
| | unexposed film. - Robert Adams |
| "Simply look with perceptive eyes at the | |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | |
| "Does this subject move me to feel, think | |
| 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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