| Memory is very important, the memory of | A picture is the expression of an impression. If |
| each photo taken, flowing at the same speed | the beautiful were not in us, how would we |
| as the event. During the work, you have to be | ever recognize it? - Ernst Haas |
| sure that you haven't left any holes, that you've | |
| captured everything, because afterwards it will | Keep it simple. - Alfred Eienstaedt |
| be too late. - Henri Cartier Bresson | |
| | A good picture is equivalent to a good deed. |
| You've got to push yourself harder. You've got | - Vincent Van Gogh |
| to start looking for pictures nobody else could | |
| take. You've got to take the tools you have and | You can find pictures anywhere. It's simply a |
| probe deeper. - William Albert Allard | matter of noticing things and organizing them. |
| | You just have to care about what's around you |
| | and have a concern with humanity and the |
| | human comedy. - Elliott Erwitt |
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Houston |
Chicago |
Atlanta |
El Paso |
Long Beach |
Las Vegas |
Springfield |
New York |
Cleveland |
Oceanside |
Boise |
St. George |
Mason City |
Billings |
Hibbing |
Minden |
Carlsbad |
Conroe |
Lakeland |
Humble |
Lakewood |
Worcester |
Nederland |
Port Washington |
Clackamas |
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| Photography is my passion. - Alfred | I almost never set out to photograph a |
| Stieglitz | landscape, nor do I think of my camera as a |
| | means of recording a mountain or an animal |
| It is not the language of painters but the | unless I absolutely need a 'record shot'. My |
| language of nature which one should listen to. | first thought is always of light. - Galen |
| . . . The feeling for the things themselves, for | Rowell |
| reality, is more important than the feeling for | |
| pictures. - Vincent Van Gogh | The virtue of the camera is not the power it |
| | has to transform the photographer into an |
| "Simply look with perceptive eyes at the | artist, but the impulse it gives him to keep on |
| world about you, and trust to your own | looking. - Brooks Anderson |
| reactions and convictions. Ask yourself: | |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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