| It is not the language of painters but the | The virtue of the camera is not the power it |
| language of nature which one should listen to. | has to transform the photographer into an |
| . . . The feeling for the things themselves, for | artist, but the impulse it gives him to keep on |
| reality, is more important than the feeling for | looking. - Brooks Anderson |
| pictures. - Vincent Van Gogh | |
| | Photography suits the temper of this ageof |
| "Simply look with perceptive eyes at the | active bodies and minds. It is a perfect |
| world about you, and trust to your own | medium for one whose mind is teeming with |
| reactions and convictions. Ask yourself: | ideas, imagery, for a prolific worker who |
| "Does this subject move me to feel, think | would be slowed down by painting or |
| and dream? Can I visualize a print - my own | sculpting, for one who sees quickly and acts |
| personal statement of what I feel and want to | decisively, accurately. - Edward Weston |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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San Diego |
New York |
Oklahoma City |
Jackson |
Arlington |
Warren |
Canton |
Auburn |
Lakeland |
Cookeville |
Artesia |
Pittsfield |
Middletown |
Enid |
Runnemede |
Texas City |
Orangeburg |
Morgantown |
Quincy |
El Paso |
Lansing |
Twentynine Palms |
Indianola |
Marysville |
Tullahoma |
Carthage |
Beaver |
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| Sometimes you can tell a large story with a | Photography is about finding out what can |
| tiny subject. - Eliot Porter | happen in the frame. When you put four |
| | edges around some facts, you change those |
| A room hung with pictures is a room hung with | facts. - Gary Winogrand |
| thoughts. - Sir Joshua Reynolds | |
| | You've got to push yourself harder. You've got |
| A great photograph is one that fully expresses | to start looking for pictures nobody else could |
| what one feels, in the deepest sense, about | take. You've got to take the tools you have and |
| what is being photographed. - Ansel | probe deeper. - William Albert Allard |
| Adams | |
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