| A mad, keen photographer needs to get out | You learn to see by practice. It's just like |
| into the world and work and make mistakes. | playing tennis, you get better the more you |
| - Sam Abell | play. The more you look around at things, the |
| | more you see. The more you photograph, the |
| The difficulty with color is to go beyond the | more you realize what can be photographed |
| fact that it's color to have it be not just a | and what can't be photographed. You just have |
| colorful picture but really be a picture about | to keep doing it. - Eliot Porter |
| something. It's difficult. So often color gets | |
| caught up in color, and it becomes merely | Keep it simple. - Alfred Eienstaedt |
| 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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New York |
Omaha |
Philadelphia |
Los Angeles |
Jacksonville |
Lincoln |
Clarksville |
Arlington |
Columbus |
Shelby |
Morristown |
New Brunswick |
Lincolnton |
Corsicana |
Chino |
Clarion |
Longview |
West Hollywood |
Van Nuys |
Farmington |
Fontana |
Hixson |
Rising Sun |
Strongsville |
Corning |
Hattiesburg |
Willis |
Solvang |
Crossville |
Erwin |
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| There is nothing worse than a sharp image of | I think you have to have a real point of view |
| a fuzzy concept. - Ansel Adams | that's your own. You have to tell it your way. |
| | And, I think that it's a mistake to shoot for a |
| "Simply look with perceptive eyes at the | specific magazine's point of view because it's |
| world about you, and trust to your own | never going to be as good. You have to shoot |
| reactions and convictions. Ask yourself: | for yourself and photograph [the way] you |
| "Does this subject move me to feel, think | believe it. - Mary Ellen Mark |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | Memory is very important, the memory of |
| convey - from the subject before me?" | each photo taken, flowing at the same speed |
| - Ansel Adams | as the event. During the work, you have to be |
| | 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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