| The virtue of the camera is not the power it | A good picture is equivalent to a good deed. |
| has to transform the photographer into an | - Vincent Van Gogh |
| artist, but the impulse it gives him to keep on | |
| looking. - Brooks Anderson | No place is boring, if you've had a good |
| | night's sleep and have a pocket full of |
| The difficulty with color is to go beyond the | unexposed film. - Robert Adams |
| fact that it's color to have it be not just a | |
| colorful picture but really be a picture about | A room hung with pictures is a room hung with |
| something. It's difficult. So often color gets | thoughts. - Sir Joshua Reynolds |
| caught up in color, and it becomes merely | |
| 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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Houston |
Lima |
Clinton Township |
Cleveland |
Fort Myers |
South Bend |
Anniston |
Long Island City |
Pekin |
Flagstaff |
Asheboro |
Tamarac |
New Hope |
Wakefield |
Glenview |
Batesville |
Ventura |
Menlo Park |
Roswell |
Boise |
Trenton |
Ithaca |
Rushville |
Dahlonega |
Bar Harbor |
Heidelberg |
Torrington |
Saukville |
Cape Cod |
Crete |
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| Memory is very important, the memory of | Now to consult the rules of composition before |
| each photo taken, flowing at the same speed | making a picture is a little like consulting the |
| as the event. During the work, you have to be | law of gravitation before going for a walk. |
| sure that you haven't left any holes, that you've | Such rules and laws are deduced from the |
| captured everything, because afterwards it will | accomplished fact; they are the products of |
| be too late. - Henri Cartier Bresson | reflection . . . - Edward Weston |
| | |
| I think you have to have a real point of view | "Simply look with perceptive eyes at the |
| that's your own. You have to tell it your way. | world about you, and trust to your own |
| And, I think that it's a mistake to shoot for a | reactions and convictions. Ask yourself: |
| specific magazine's point of view because it's | "Does this subject move me to feel, think |
| never going to be as good. You have to shoot | and dream? Can I visualize a print - my own |
| for yourself and photograph [the way] you | personal statement of what I feel and want to |
| believe it. - Mary Ellen Mark | convey - from the subject before me?" |
| | - Ansel Adams |
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