| Above all, it's hard learning to live with vivid | I think the best pictures are often on the edges |
| mental images of scenes I cared for and failed | of any situation, I don't find photographing the |
| to photograph. It is the edgy existence within | situation nearly as interesting as |
| me of these unmade images that is the only | photographing the edges. - William Albert |
| assurance that the best photographs are yet to | Allard |
| be made. - Sam Abell | |
| | A great photograph is one that fully expresses |
| It is not the language of painters but the | what one feels, in the deepest sense, about |
| language of nature which one should listen to. | what is being photographed. - Ansel |
| . . . The feeling for the things themselves, for | Adams |
| reality, is more important than the feeling for | |
| pictures. - Vincent Van Gogh | |
|
|
Seattle |
Knoxville |
Dallas |
St. Paul |
Williamsville |
Tacoma |
Hamilton |
Sherman Oaks |
Watertown |
Gardena |
Somerset |
Sturgis |
Angleton |
Missoula |
Winnsboro |
Cedar Falls |
South Plainfield |
Attalla |
Durango |
Cortland |
La Grange |
Absecon |
Bellmawr |
West Valley City |
Oak Ridge |
Conway |
Clifton Park |
Cedar Park |
Yazoo City |
|
|
| I think you have to have a real point of view | A mad, keen photographer needs to get out |
| that's your own. You have to tell it your way. | into the world and work and make mistakes. |
| And, I think that it's a mistake to shoot for a | - Sam Abell |
| specific magazine's point of view because it's | |
| never going to be as good. You have to shoot | The difficulty with color is to go beyond the |
| for yourself and photograph [the way] you | fact that it's color to have it be not just a |
| believe it. - Mary Ellen Mark | 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 | |
|