| There is nothing worse than a sharp image of | Sometimes you can tell a large story with a |
| a fuzzy concept. - Ansel Adams | tiny subject. - Eliot Porter |
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| "Simply look with perceptive eyes at the | Keep it simple. - Alfred Eienstaedt |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | You can find pictures anywhere. It's simply a |
| "Does this subject move me to feel, think | matter of noticing things and organizing them. |
| and dream? Can I visualize a print - my own | You just have to care about what's around you |
| personal statement of what I feel and want to | and have a concern with humanity and the |
| convey - from the subject before me?" | human comedy. - Elliott Erwitt |
| - Ansel Adams | |
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| The difficulty with color is to go beyond the | Memory is very important, the memory of |
| fact that it's color to have it be not just a | each photo taken, flowing at the same speed |
| colorful picture but really be a picture about | as the event. During the work, you have to be |
| something. It's difficult. So often color gets | sure that you haven't left any holes, that you've |
| caught up in color, and it becomes merely | captured everything, because afterwards it will |
| decorative. Some photographers use [ it ] | be too late. - Henri Cartier Bresson |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | Photography is about finding out what can |
| - Mary Ellen Mark | happen in the frame. When you put four |
| | edges around some facts, you change those |
| | facts. - Gary Winogrand |
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