| Above all, it's hard learning to live with vivid | You learn to see by practice. It's just like |
| mental images of scenes I cared for and failed | playing tennis, you get better the more you |
| to photograph. It is the edgy existence within | play. The more you look around at things, the |
| me of these unmade images that is the only | more you see. The more you photograph, the |
| assurance that the best photographs are yet to | more you realize what can be photographed |
| be made. - Sam Abell | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
| "Simply look with perceptive eyes at the | |
| world about you, and trust to your own | A great photograph is one that fully expresses |
| reactions and convictions. Ask yourself: | what one feels, in the deepest sense, about |
| "Does this subject move me to feel, think | what is being photographed. - Ansel |
| and dream? Can I visualize a print - my own | Adams |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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San Francisco |
Las Vegas |
Pembroke Pines |
Lakewood |
Lincoln |
La Grange |
Pompano Beach |
Durant |
Napa |
Lincolnton |
Okeechobee |
Camp Verde |
Albuquerque |
Hearne |
Perryville |
Meadville |
Bastrop |
Steubenville |
Los Gatos |
Fisherville |
Cumberland Gap |
Dallas |
Sundance |
Belleville |
Jefferson |
Bremen |
Wellesley |
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| One should really use the camera as though | Photography knows how to authenticate its |
| tomorrow you'd be stricken blind. | misrepresentations. - Mason Cooley |
| - Dorothea Lange | |
| | Photography is about finding out what can |
| The camera makes everyone a tourist in other | happen in the frame. When you put four |
| people's reality. - Susan Sontag | edges around some facts, you change those |
| | facts. - Gary Winogrand |
| Photography suits the temper of this ageof | |
| active bodies and minds. It is a perfect | I think you have to have a real point of view |
| medium for one whose mind is teeming with | that's your own. You have to tell it your way. |
| ideas, imagery, for a prolific worker who | And, I think that it's a mistake to shoot for a |
| would be slowed down by painting or | specific magazine's point of view because it's |
| sculpting, for one who sees quickly and acts | never going to be as good. You have to shoot |
| decisively, accurately. - Edward Weston | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
|