| Sometimes you can tell a large story with a | Now to consult the rules of composition before |
| tiny subject. - Eliot Porter | making a picture is a little like consulting the |
| | law of gravitation before going for a walk. |
| You learn to see by practice. It's just like | Such rules and laws are deduced from the |
| playing tennis, you get better the more you | accomplished fact; they are the products of |
| play. The more you look around at things, the | reflection . . . - Edward Weston |
| more you see. The more you photograph, the | |
| more you realize what can be photographed | Above all, it's hard learning to live with vivid |
| and what can't be photographed. You just have | mental images of scenes I cared for and failed |
| to keep doing it. - Eliot Porter | to photograph. It is the edgy existence within |
| | me of these unmade images that is the only |
| | assurance that the best photographs are yet to |
| | be made. - Sam Abell |
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San Jose |
Las Vegas |
Glendale |
Irvine |
Hampton |
Port Angeles |
Macon |
Herndon |
Cape Canaveral |
Geneva |
Lexington |
Frankfort |
Hurst |
Ontario |
Dry Ridge |
Luray |
Fitzgerald |
Louisville |
Charlotte |
Indialantic |
Union |
Chattanooga |
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| Photography records the gamut of feelings | The camera makes everyone a tourist in other |
| written on the human face, the beauty of the | people's reality. - Susan Sontag |
| earth and skies that man has inherited and the | |
| wealth and confusion man has created. | A mad, keen photographer needs to get out |
| - Edward Steichen | into the world and work and make mistakes. |
| | - Sam Abell |
| Memory is very important, the memory of | |
| each photo taken, flowing at the same speed | One should really use the camera as though |
| as the event. During the work, you have to be | tomorrow you'd be stricken blind. |
| sure that you haven't left any holes, that you've | - Dorothea Lange |
| captured everything, because afterwards it will | |
| be too late. - Henri Cartier Bresson | |
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