| There is nothing worse than a sharp image of | Memory is very important, the memory of |
| a fuzzy concept. - Ansel Adams | each photo taken, flowing at the same speed |
| | as the event. During the work, you have to be |
| "Simply look with perceptive eyes at the | sure that you haven't left any holes, that you've |
| world about you, and trust to your own | captured everything, because afterwards it will |
| reactions and convictions. Ask yourself: | be too late. - Henri Cartier Bresson |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | I think you have to have a real point of view |
| personal statement of what I feel and want to | that's your own. You have to tell it your way. |
| convey - from the subject before me?" | And, I think that it's a mistake to shoot for a |
| - Ansel Adams | 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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Brooklyn |
New York |
Tampa |
Portland |
El Paso |
Norfolk |
Woodbridge |
Evansville |
Lancaster |
Brattleboro |
Jackson |
West Hollywood |
Clearwater |
Clearfield |
Portales |
Maple Grove |
San Jose |
Harrodsburg |
San Marcos |
Goshen |
Buffalo |
Memphis |
Ingleside |
Auburn |
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| The difficulty with color is to go beyond the | A room hung with pictures is a room hung with |
| fact that it's color to have it be not just a | thoughts. - Sir Joshua Reynolds |
| colorful picture but really be a picture about | |
| something. It's difficult. So often color gets | A picture is the expression of an impression. If |
| caught up in color, and it becomes merely | the beautiful were not in us, how would we |
| decorative. Some photographers use [ it ] | ever recognize it? - Ernst Haas |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | Sometimes you can tell a large story with a |
| - Mary Ellen Mark | tiny subject. - Eliot Porter |
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