| A great photograph is one that fully expresses | One should really use the camera as though |
| what one feels, in the deepest sense, about | tomorrow you'd be stricken blind. |
| what is being photographed. - Ansel | - Dorothea Lange |
| Adams | |
| | The difficulty with color is to go beyond the |
| I think the best pictures are often on the edges | fact that it's color to have it be not just a |
| of any situation, I don't find photographing the | colorful picture but really be a picture about |
| situation nearly as interesting as | something. It's difficult. So often color gets |
| photographing the edges. - William Albert | caught up in color, and it becomes merely |
| Allard | 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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Houston |
Seattle |
Colorado Springs |
Indianapolis |
Tulsa |
Milwaukee |
Albuquerque |
Newark |
Henderson |
Easton |
Chandler |
Portsmouth |
Clayton |
Paducah |
Farmington |
Vincennes |
Methuen |
Temple Terrace |
Jacksonville |
Ellenton |
Loganville |
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| Now to consult the rules of composition before | Photography records the gamut of feelings |
| making a picture is a little like consulting the | written on the human face, the beauty of the |
| law of gravitation before going for a walk. | earth and skies that man has inherited and the |
| Such rules and laws are deduced from the | wealth and confusion man has created. |
| accomplished fact; they are the products of | - Edward Steichen |
| reflection . . . - Edward Weston | |
| | I think you have to have a real point of view |
| Photography takes an instant out of time, | that's your own. You have to tell it your way. |
| altering life by holding it still. - Dorothea | And, I think that it's a mistake to shoot for a |
| Lange | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
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