| I almost never set out to photograph a | There is nothing worse than a sharp image of |
| landscape, nor do I think of my camera as a | a fuzzy concept. - Ansel Adams |
| means of recording a mountain or an animal | |
| unless I absolutely need a 'record shot'. My | "Simply look with perceptive eyes at the |
| first thought is always of light. - Galen | world about you, and trust to your own |
| Rowell | reactions and convictions. Ask yourself: |
| | "Does this subject move me to feel, think |
| The virtue of the camera is not the power it | and dream? Can I visualize a print - my own |
| has to transform the photographer into an | personal statement of what I feel and want to |
| artist, but the impulse it gives him to keep on | convey - from the subject before me?" |
| looking. - Brooks Anderson | - Ansel Adams |
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New York |
Dallas |
Minneapolis |
Knoxville |
Denver |
Springfield |
Baltimore |
Milwaukee |
Arlington |
Wilmington |
Redondo Beach |
Vacaville |
Fairmont |
Athens |
Arcadia |
Smithtown |
Gig Harbor |
Eufaula |
East Moline |
Schenectady |
South Windsor |
Colonial Beach |
Yucca Valley |
Grapevine |
Delray Beach |
Cape Girardeau |
Salem |
Winnsboro |
Butler |
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| I think you have to have a real point of view | You learn to see by practice. It's just like |
| that's your own. You have to tell it your way. | playing tennis, you get better the more you |
| And, I think that it's a mistake to shoot for a | play. The more you look around at things, the |
| specific magazine's point of view because it's | more you see. The more you photograph, the |
| never going to be as good. You have to shoot | more you realize what can be photographed |
| for yourself and photograph [the way] you | and what can't be photographed. You just have |
| believe it. - Mary Ellen Mark | to keep doing it. - Eliot Porter |
| | |
| Memory is very important, the memory of | No place is boring, if you've had a good |
| each photo taken, flowing at the same speed | night's sleep and have a pocket full of |
| as the event. During the work, you have to be | unexposed film. - Robert Adams |
| 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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