| A mad, keen photographer needs to get out | It is not the language of painters but the |
| into the world and work and make mistakes. | language of nature which one should listen to. |
| - Sam Abell | . . . The feeling for the things themselves, for |
| | reality, is more important than the feeling for |
| The difficulty with color is to go beyond the | pictures. - Vincent Van Gogh |
| fact that it's color to have it be not just a | |
| colorful picture but really be a picture about | There is nothing worse than a sharp image of |
| something. It's difficult. So often color gets | a fuzzy concept. - Ansel Adams |
| caught up in color, and it becomes merely | |
| decorative. Some photographers use [ it ] | [Photography] is a way of feeling, of touching, |
| brilliantly to make visual statements combining | of loving. What you have caught on film is |
| color and content; otherwise it is empty. | captured forever . . . it remembers little things, |
| - Mary Ellen Mark | long after you have forgotten everything. |
| | - Aaron Siskind |
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| A great photograph is one that fully expresses | Photography is about finding out what can |
| what one feels, in the deepest sense, about | happen in the frame. When you put four |
| what is being photographed. - Ansel | edges around some facts, you change those |
| Adams | facts. - Gary Winogrand |
| | |
| Keep it simple. - Alfred Eienstaedt | Memory is very important, the memory of |
| | each photo taken, flowing at the same speed |
| A good picture is equivalent to a good deed. | as the event. During the work, you have to be |
| - Vincent Van Gogh | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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