| There is nothing worse than a sharp image of | Keep it simple. - Alfred Eienstaedt |
| a fuzzy concept. - Ansel Adams | |
| | I think the best pictures are often on the edges |
| "Simply look with perceptive eyes at the | of any situation, I don't find photographing the |
| world about you, and trust to your own | situation nearly as interesting as |
| reactions and convictions. Ask yourself: | photographing the edges. - William Albert |
| "Does this subject move me to feel, think | Allard |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | A great photograph is one that fully expresses |
| convey - from the subject before me?" | what one feels, in the deepest sense, about |
| - Ansel Adams | what is being photographed. - Ansel |
| | Adams |
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New York |
Las Vegas |
Brooklyn |
Salt Lake City |
Los Angeles |
Lexington |
Duluth |
Calhoun |
Folsom |
Grand Island |
Fort Mill |
Burlington |
Anchorage |
Scottsbluff |
Boulder |
Mill Valley |
Cambridge |
Holland |
Leavenworth |
Berlin |
Gaffney |
Redfield |
Llano |
Warrington |
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| ...words and pictures can work together to | The difficulty with color is to go beyond the |
| communicate more powerfully than either | fact that it's color to have it be not just a |
| alone. -William Albert Allard | colorful picture but really be a picture about |
| | something. It's difficult. So often color gets |
| Memory is very important, the memory of | caught up in color, and it becomes merely |
| each photo taken, flowing at the same speed | decorative. Some photographers use [ it ] |
| as the event. During the work, you have to be | brilliantly to make visual statements combining |
| sure that you haven't left any holes, that you've | color and content; otherwise it is empty. |
| captured everything, because afterwards it will | - Mary Ellen Mark |
| be too late. - Henri Cartier Bresson | |
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