| "Simply look with perceptive eyes at the | Memory is very important, the memory of |
| world about you, and trust to your own | each photo taken, flowing at the same speed |
| reactions and convictions. Ask yourself: | as the event. During the work, you have to be |
| "Does this subject move me to feel, think | sure that you haven't left any holes, that you've |
| and dream? Can I visualize a print - my own | captured everything, because afterwards it will |
| personal statement of what I feel and want to | be too late. - Henri Cartier Bresson |
| convey - from the subject before me?" | |
| - Ansel Adams | Photography records the gamut of feelings |
| | written on the human face, the beauty of the |
| Now to consult the rules of composition before | earth and skies that man has inherited and the |
| making a picture is a little like consulting the | wealth and confusion man has created. |
| law of gravitation before going for a walk. | - Edward Steichen |
| Such rules and laws are deduced from the | |
| accomplished fact; they are the products of | |
| reflection . . . - Edward Weston | |
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|
Indianapolis |
Memphis |
Pensacola |
Joliet |
Idaho Falls |
Grand Junction |
Cumming |
Orange Park |
Owatonna |
Placentia |
Winchester |
Pineville |
Mission Viejo |
Hamburg |
Borger |
North East |
Plainfield |
Danville |
Ocean City |
El Segundo |
Jefferson City |
Mt. Pleasant |
Merced |
Gretna |
Sylmar |
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| You can find pictures anywhere. It's simply a | One should really use the camera as though |
| matter of noticing things and organizing them. | tomorrow you'd be stricken blind. |
| You just have to care about what's around you | - Dorothea Lange |
| and have a concern with humanity and the | |
| human comedy. - Elliott Erwitt | A mad, keen photographer needs to get out |
| | into the world and work and make mistakes. |
| You learn to see by practice. It's just like | - Sam Abell |
| playing tennis, you get better the more you | |
| play. The more you look around at things, the | The difficulty with color is to go beyond the |
| more you see. The more you photograph, the | fact that it's color to have it be not just a |
| more you realize what can be photographed | colorful picture but really be a picture about |
| and what can't be photographed. You just have | something. It's difficult. So often color gets |
| to keep doing it. - Eliot Porter | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
|