| One should really use the camera as though | No place is boring, if you've had a good |
| tomorrow you'd be stricken blind. | night's sleep and have a pocket full of |
| - Dorothea Lange | unexposed film. - Robert Adams |
| | |
| The camera makes everyone a tourist in other | Sometimes you can tell a large story with a |
| people's reality. - Susan Sontag | tiny subject. - Eliot Porter |
| | |
| The difficulty with color is to go beyond the | You can find pictures anywhere. It's simply a |
| fact that it's color to have it be not just a | matter of noticing things and organizing them. |
| colorful picture but really be a picture about | You just have to care about what's around you |
| something. It's difficult. So often color gets | and have a concern with humanity and the |
| caught up in color, and it becomes merely | human comedy. - Elliott Erwitt |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
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Sacramento |
Tyler |
Spartanburg |
Englewood |
Lancaster |
Richmond |
Chino |
New Orleans |
Dumas |
Middletown |
Castle Rock |
Hays |
Aberdeen |
Knoxville |
Marshalltown |
Muskegon |
Columbus |
Mechanicsville |
Brevard |
Nicholasville |
Miami Beach |
Matamoras |
Smith River |
West Monroe |
Grayson |
Monte Vista |
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| It is not the language of painters but the | Photography records the gamut of feelings |
| language of nature which one should listen to. | written on the human face, the beauty of the |
| . . . The feeling for the things themselves, for | earth and skies that man has inherited and the |
| reality, is more important than the feeling for | wealth and confusion man has created. |
| pictures. - Vincent Van Gogh | - Edward Steichen |
| | |
| Above all, it's hard learning to live with vivid | Memory is very important, the memory of |
| mental images of scenes I cared for and failed | each photo taken, flowing at the same speed |
| to photograph. It is the edgy existence within | as the event. During the work, you have to be |
| me of these unmade images that is the only | sure that you haven't left any holes, that you've |
| assurance that the best photographs are yet to | captured everything, because afterwards it will |
| be made. - Sam Abell | be too late. - Henri Cartier Bresson |
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