| A picture is the expression of an impression. If | Photography records the gamut of feelings |
| the beautiful were not in us, how would we | written on the human face, the beauty of the |
| ever recognize it? - Ernst Haas | earth and skies that man has inherited and the |
| | wealth and confusion man has created. |
| You can find pictures anywhere. It's simply a | - Edward Steichen |
| matter of noticing things and organizing them. | |
| You just have to care about what's around you | I think you have to have a real point of view |
| and have a concern with humanity and the | that's your own. You have to tell it your way. |
| human comedy. - Elliott Erwitt | And, I think that it's a mistake to shoot for a |
| | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
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Houston |
Atlanta |
Alexandria |
Costa Mesa |
Reno |
Evanston |
Anderson |
Lake Worth |
Ann Arbor |
Palo Alto |
Jackson |
Melbourne |
Sparks |
Chino |
Jerseyville |
Statesboro |
Corning |
Coon Rapids |
Canon City |
Bonner Springs |
Tacoma |
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| It is not the language of painters but the | The virtue of the camera is not the power it |
| language of nature which one should listen to. | has to transform the photographer into an |
| . . . The feeling for the things themselves, for | artist, but the impulse it gives him to keep on |
| reality, is more important than the feeling for | looking. - Brooks Anderson |
| pictures. - Vincent Van Gogh | |
| | My own eyes are no more than scouts on a |
| "Simply look with perceptive eyes at the | preliminary search, for the camera's eye may |
| world about you, and trust to your own | entirely change my idea. - Edward |
| reactions and convictions. Ask yourself: | Weston |
| "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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