| "Simply look with perceptive eyes at the | No place is boring, if you've had a good |
| world about you, and trust to your own | night's sleep and have a pocket full of |
| reactions and convictions. Ask yourself: | unexposed film. - Robert Adams |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | A great photograph is one that fully expresses |
| personal statement of what I feel and want to | what one feels, in the deepest sense, about |
| convey - from the subject before me?" | what is being photographed. - Ansel |
| - Ansel Adams | Adams |
| | |
| It is not the language of painters but the | You learn to see by practice. It's just like |
| language of nature which one should listen to. | playing tennis, you get better the more you |
| . . . The feeling for the things themselves, for | play. The more you look around at things, the |
| reality, is more important than the feeling for | more you see. The more you photograph, the |
| pictures. - Vincent Van Gogh | more you realize what can be photographed |
| | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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Houston |
New York |
San Diego |
Rochester |
Miami |
Brooklyn |
Columbus |
Toms River |
Stuart |
Cedar Rapids |
Hollywood |
Woodland Hills |
North Bergen |
Richmond |
Creve Coeur |
Albert Lea |
Ames |
Chambersburg |
Elko |
Fairbanks |
Murray |
Kailua Kona |
Waynesville |
Manchester |
Greenville |
Easton |
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| I almost never set out to photograph a | I think you have to have a real point of view |
| landscape, nor do I think of my camera as a | that's your own. You have to tell it your way. |
| means of recording a mountain or an animal | And, I think that it's a mistake to shoot for a |
| unless I absolutely need a 'record shot'. My | specific magazine's point of view because it's |
| first thought is always of light. - Galen | never going to be as good. You have to shoot |
| Rowell | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
| The virtue of the camera is not the power it | |
| has to transform the photographer into an | Photography is a major force in explaining |
| artist, but the impulse it gives him to keep on | man to man. - Edward Steichen |
| looking. - Brooks Anderson | |
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