| Photography takes an instant out of time, | A great photograph is one that fully expresses |
| altering life by holding it still. - Dorothea | what one feels, in the deepest sense, about |
| Lange | what is being photographed. - Ansel |
| | Adams |
| It is not the language of painters but the | |
| language of nature which one should listen to. | No place is boring, if you've had a good |
| . . . The feeling for the things themselves, for | night's sleep and have a pocket full of |
| reality, is more important than the feeling for | unexposed film. - Robert Adams |
| pictures. - Vincent Van Gogh | |
| | You learn to see by practice. It's just like |
| | playing tennis, you get better the more you |
| | play. The more you look around at things, the |
| | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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Dallas |
Houston |
Modesto |
Naples |
Newark |
Oakland |
Ann Arbor |
El Dorado |
Cincinnati |
Harrisburg |
Dubuque |
Blairsville |
New Castle |
Elmira |
Goose Creek |
Fairhope |
Franklin Park |
Irving |
Lindale |
Oldsmar |
Fallbrook |
Tarrytown |
North Little Rock |
Las Cruces |
Denton |
Hollister |
Boxborough |
White Plains |
Vail |
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| I think you have to have a real point of view | The difficulty with color is to go beyond the |
| that's your own. You have to tell it your way. | fact that it's color to have it be not just a |
| And, I think that it's a mistake to shoot for a | colorful picture but really be a picture about |
| specific magazine's point of view because it's | something. It's difficult. So often color gets |
| never going to be as good. You have to shoot | caught up in color, and it becomes merely |
| for yourself and photograph [the way] you | decorative. Some photographers use [ it ] |
| believe it. - Mary Ellen Mark | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| Memory is very important, the memory of | - Mary Ellen Mark |
| each photo taken, flowing at the same speed | |
| 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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