| A great photograph is one that fully expresses | The virtue of the camera is not the power it |
| what one feels, in the deepest sense, about | has to transform the photographer into an |
| what is being photographed. - Ansel | artist, but the impulse it gives him to keep on |
| Adams | looking. - Brooks Anderson |
| | |
| You learn to see by practice. It's just like | The difficulty with color is to go beyond the |
| playing tennis, you get better the more you | fact that it's color to have it be not just a |
| play. The more you look around at things, the | colorful picture but really be a picture about |
| more you see. The more you photograph, the | something. It's difficult. So often color gets |
| more you realize what can be photographed | caught up in color, and it becomes merely |
| and what can't be photographed. You just have | decorative. Some photographers use [ it ] |
| to keep doing it. - Eliot Porter | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
|
|
Philadelphia |
New York |
San Antonio |
Los Angeles |
Durham |
Corpus Christi |
Fort Myers |
Columbia |
Stockton |
El Paso |
Delray Beach |
Schaumburg |
Cincinnati |
Norfolk |
Tamarac |
Hamilton |
East Windsor |
El Cajon |
South Portland |
Muskegon |
Tyler |
Melville |
Ashland |
Corinth |
Orange |
Waukegan |
|
|
| "Simply look with perceptive eyes at the | I think you have to have a real point of view |
| world about you, and trust to your own | that's your own. You have to tell it your way. |
| reactions and convictions. Ask yourself: | And, I think that it's a mistake to shoot for a |
| "Does this subject move me to feel, think | specific magazine's point of view because it's |
| and dream? Can I visualize a print - my own | never going to be as good. You have to shoot |
| personal statement of what I feel and want to | for yourself and photograph [the way] you |
| convey - from the subject before me?" | believe it. - Mary Ellen Mark |
| - Ansel Adams | |
| | Photography is about finding out what can |
| There is nothing worse than a sharp image of | happen in the frame. When you put four |
| a fuzzy concept. - Ansel Adams | edges around some facts, you change those |
| | facts. - Gary Winogrand |
|