| A room hung with pictures is a room hung with | It is not the language of painters but the |
| thoughts. - Sir Joshua Reynolds | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| I think the best pictures are often on the edges | reality, is more important than the feeling for |
| of any situation, I don't find photographing the | pictures. - Vincent Van Gogh |
| situation nearly as interesting as | |
| photographing the edges. - William Albert | Once photography enters your bloodstream, |
| Allard | it's like a disease. - Anon |
| | |
| You learn to see by practice. It's just like | Now to consult the rules of composition before |
| playing tennis, you get better the more you | making a picture is a little like consulting the |
| play. The more you look around at things, the | law of gravitation before going for a walk. |
| more you see. The more you photograph, the | Such rules and laws are deduced from the |
| more you realize what can be photographed | accomplished fact; they are the products of |
| and what can't be photographed. You just have | reflection . . . - Edward Weston |
| to keep doing it. - Eliot Porter | |
|
|
Las Vegas |
Louisville |
Buffalo |
Costa Mesa |
Morristown |
Midland |
Harrisonburg |
Manchester |
Greenwood |
Merced |
Pocahontas |
Lodi |
Duluth |
La Crosse |
Cary |
Douglas |
Clinton |
Leavenworth |
Navasota |
Morrilton |
Morristown |
Union Gap |
|
|
| Photography suits the temper of this ageof | Photography is about finding out what can |
| active bodies and minds. It is a perfect | happen in the frame. When you put four |
| medium for one whose mind is teeming with | edges around some facts, you change those |
| ideas, imagery, for a prolific worker who | facts. - Gary Winogrand |
| would be slowed down by painting or | |
| sculpting, for one who sees quickly and acts | Photography records the gamut of feelings |
| decisively, accurately. - Edward Weston | written on the human face, the beauty of the |
| | earth and skies that man has inherited and the |
| The virtue of the camera is not the power it | wealth and confusion man has created. |
| has to transform the photographer into an | - Edward Steichen |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | |
|