| You've got to push yourself harder. You've got | It is not the language of painters but the |
| to start looking for pictures nobody else could | language of nature which one should listen to. |
| take. You've got to take the tools you have and | . . . The feeling for the things themselves, for |
| probe deeper. - William Albert Allard | reality, is more important than the feeling for |
| | pictures. - Vincent Van Gogh |
| ...words and pictures can work together to | |
| communicate more powerfully than either | Once photography enters your bloodstream, |
| alone. -William Albert Allard | it's like a disease. - Anon |
| | |
| Memory is very important, the memory of | Photography takes an instant out of time, |
| each photo taken, flowing at the same speed | altering life by holding it still. - Dorothea |
| as the event. During the work, you have to be | Lange |
| 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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|
New York |
Omaha |
Charleston |
Huntington Beach |
Lancaster |
Edison |
Florissant |
Joliet |
Mission Viejo |
El Dorado |
Sturgeon Bay |
Franklin |
Creve Coeur |
Rockmart |
La Plata |
Berkeley |
Waukesha |
Kohala Coast |
Pine Grove |
Dalton |
Black Mountain |
Mt. Hope Beckley |
St Marys |
Sherman Oaks |
Farmington Hills |
Kerrville |
North Randall |
Waukegan |
Saugatuck |
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| No place is boring, if you've had a good | One should really use the camera as though |
| night's sleep and have a pocket full of | tomorrow you'd be stricken blind. |
| unexposed film. - Robert Adams | - Dorothea Lange |
| | |
| You can find pictures anywhere. It's simply a | My own eyes are no more than scouts on a |
| matter of noticing things and organizing them. | preliminary search, for the camera's eye may |
| You just have to care about what's around you | entirely change my idea. - Edward |
| and have a concern with humanity and the | Weston |
| human comedy. - Elliott Erwitt | |
| | The difficulty with color is to go beyond the |
| | fact that it's color to have it be not just a |
| | colorful picture but really be a picture about |
| | something. It's difficult. So often color gets |
| | caught up in color, and it becomes merely |
| | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
|