| Photography is about finding out what can | The difficulty with color is to go beyond the |
| happen in the frame. When you put four | fact that it's color to have it be not just a |
| edges around some facts, you change those | colorful picture but really be a picture about |
| facts. - Gary Winogrand | something. It's difficult. So often color gets |
| | caught up in color, and it becomes merely |
| You've got to push yourself harder. You've got | decorative. Some photographers use [ it ] |
| to start looking for pictures nobody else could | brilliantly to make visual statements combining |
| take. You've got to take the tools you have and | color and content; otherwise it is empty. |
| probe deeper. - William Albert Allard | - Mary Ellen Mark |
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Houston |
San Francisco |
San Antonio |
Milwaukee |
Asheville |
Los Angeles |
Cranston |
Glenview |
Concord |
Chino |
Lakeland |
Jackson |
Evansville |
Bozeman |
Pocahontas |
Kalamazoo |
Gardena |
Falmouth |
Jamestown |
Henderson |
Hampton |
Clinton |
Tucumcari |
Somerset |
New Braunfels |
Amarillo |
Monroe |
Ely |
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| Now to consult the rules of composition before | A great photograph is one that fully expresses |
| making a picture is a little like consulting the | what one feels, in the deepest sense, about |
| law of gravitation before going for a walk. | what is being photographed. - Ansel |
| Such rules and laws are deduced from the | Adams |
| accomplished fact; they are the products of | |
| reflection . . . - Edward Weston | You learn to see by practice. It's just like |
| | playing tennis, you get better the more you |
| There is nothing worse than a sharp image of | play. The more you look around at things, the |
| a fuzzy concept. - Ansel Adams | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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