| A mad, keen photographer needs to get out | There is nothing worse than a sharp image of |
| into the world and work and make mistakes. | a fuzzy concept. - Ansel Adams |
| - Sam Abell | |
| | [Photography] is a way of feeling, of touching, |
| The virtue of the camera is not the power it | of loving. What you have caught on film is |
| has to transform the photographer into an | captured forever . . . it remembers little things, |
| artist, but the impulse it gives him to keep on | long after you have forgotten everything. |
| looking. - Brooks Anderson | - Aaron Siskind |
| | |
| The difficulty with color is to go beyond the | "Simply look with perceptive eyes at the |
| fact that it's color to have it be not just a | world about you, and trust to your own |
| colorful picture but really be a picture about | reactions and convictions. Ask yourself: |
| something. It's difficult. So often color gets | "Does this subject move me to feel, think |
| caught up in color, and it becomes merely | and dream? Can I visualize a print - my own |
| decorative. Some photographers use [ it ] | personal statement of what I feel and want to |
| brilliantly to make visual statements combining | convey - from the subject before me?" |
| color and content; otherwise it is empty. | - Ansel Adams |
| - Mary Ellen Mark | |
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Brooklyn |
Baltimore |
Fort Lauderdale |
Syracuse |
Reno |
Ocala |
Winter Haven |
Sterling Heights |
Columbus |
Massillon |
Waldorf |
Sandersville |
Buffalo |
San Benito |
Elmira |
Kingwood |
York |
Dallas |
Chester |
Bensalem |
Poplar Bluff |
Eagan |
College Park |
Belton |
Collinsville |
Victor |
Rio Rancho |
Chamberlain Oacoma |
Hanover |
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| Memory is very important, the memory of | A room hung with pictures is a room hung with |
| each photo taken, flowing at the same speed | thoughts. - Sir Joshua Reynolds |
| as the event. During the work, you have to be | |
| sure that you haven't left any holes, that you've | You can find pictures anywhere. It's simply a |
| captured everything, because afterwards it will | matter of noticing things and organizing them. |
| be too late. - Henri Cartier Bresson | You just have to care about what's around you |
| | and have a concern with humanity and the |
| I think you have to have a real point of view | human comedy. - Elliott Erwitt |
| that's your own. You have to tell it your way. | |
| And, I think that it's a mistake to shoot for a | I think the best pictures are often on the edges |
| specific magazine's point of view because it's | of any situation, I don't find photographing the |
| never going to be as good. You have to shoot | situation nearly as interesting as |
| for yourself and photograph [the way] you | photographing the edges. - William Albert |
| believe it. - Mary Ellen Mark | Allard |
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