| There is nothing worse than a sharp image of | Keep it simple. - Alfred Eienstaedt |
| a fuzzy concept. - Ansel Adams | |
| | A great photograph is one that fully expresses |
| It is not the language of painters but the | what one feels, in the deepest sense, about |
| language of nature which one should listen to. | what is being photographed. - Ansel |
| . . . The feeling for the things themselves, for | Adams |
| reality, is more important than the feeling for | |
| pictures. - Vincent Van Gogh | Sometimes you can tell a large story with a |
| | tiny subject. - Eliot Porter |
| "Simply look with perceptive eyes at the | |
| world about you, and trust to your own | |
| reactions and convictions. Ask yourself: | |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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Los Angeles |
Seattle |
Dallas |
San Diego |
Mobile |
West Palm Beach |
Aurora |
San Antonio |
Beaumont |
Toledo |
Hollywood |
Las Cruces |
Culpeper |
Concord |
Lockport |
Palo Alto |
Morehead |
Union City |
Clearfield |
Tarrytown |
Paris |
Effingham |
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| The difficulty with color is to go beyond the | Pictures you have taken have an influence on |
| fact that it's color to have it be not just a | those that you are going to make. |
| colorful picture but really be a picture about | That's life! - John Sexton |
| something. It's difficult. So often color gets | |
| caught up in color, and it becomes merely | Memory is very important, the memory of |
| decorative. Some photographers use [ it ] | each photo taken, flowing at the same speed |
| brilliantly to make visual statements combining | as the event. During the work, you have to be |
| color and content; otherwise it is empty. | sure that you haven't left any holes, that you've |
| - Mary Ellen Mark | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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