| No place is boring, if you've had a good | "Simply look with perceptive eyes at the |
| night's sleep and have a pocket full of | world about you, and trust to your own |
| unexposed film. - Robert Adams | reactions and convictions. Ask yourself: |
| | "Does this subject move me to feel, think |
| You learn to see by practice. It's just like | and dream? Can I visualize a print - my own |
| playing tennis, you get better the more you | personal statement of what I feel and want to |
| play. The more you look around at things, the | convey - from the subject before me?" |
| more you see. The more you photograph, the | - Ansel Adams |
| more you realize what can be photographed | |
| and what can't be photographed. You just have | It is not the language of painters but the |
| to keep doing it. - Eliot Porter | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| | reality, is more important than the feeling for |
| | pictures. - Vincent Van Gogh |
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| I think you have to have a real point of view | Photography suits the temper of this ageof |
| that's your own. You have to tell it your way. | active bodies and minds. It is a perfect |
| And, I think that it's a mistake to shoot for a | medium for one whose mind is teeming with |
| specific magazine's point of view because it's | ideas, imagery, for a prolific worker who |
| never going to be as good. You have to shoot | would be slowed down by painting or |
| for yourself and photograph [the way] you | sculpting, for one who sees quickly and acts |
| believe it. - Mary Ellen Mark | decisively, accurately. - Edward Weston |
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| Photography records the gamut of feelings | A mad, keen photographer needs to get out |
| written on the human face, the beauty of the | into the world and work and make mistakes. |
| earth and skies that man has inherited and the | - Sam Abell |
| wealth and confusion man has created. | |
| - Edward Steichen | |
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