| A mad, keen photographer needs to get out | Memory is very important, the memory of |
| into the world and work and make mistakes. | each photo taken, flowing at the same speed |
| - Sam Abell | as the event. During the work, you have to be |
| | sure that you haven't left any holes, that you've |
| The difficulty with color is to go beyond the | captured everything, because afterwards it will |
| fact that it's color to have it be not just a | be too late. - Henri Cartier Bresson |
| colorful picture but really be a picture about | |
| something. It's difficult. So often color gets | ...words and pictures can work together to |
| caught up in color, and it becomes merely | communicate more powerfully than either |
| decorative. Some photographers use [ it ] | alone. -William Albert Allard |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
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Los Angeles |
Tampa |
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Lafayette |
San Antonio |
Lexington |
Melbourne |
Waco |
Las Cruces |
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| [Photography] is a way of feeling, of touching, | I think the best pictures are often on the edges |
| of loving. What you have caught on film is | of any situation, I don't find photographing the |
| captured forever . . . it remembers little things, | situation nearly as interesting as |
| long after you have forgotten everything. | photographing the edges. - William Albert |
| - Aaron Siskind | Allard |
| | |
| Now to consult the rules of composition before | A picture is the expression of an impression. If |
| making a picture is a little like consulting the | the beautiful were not in us, how would we |
| law of gravitation before going for a walk. | ever recognize it? - Ernst Haas |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | |
| reflection . . . - Edward Weston | |
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