| Now to consult the rules of composition before | Memory is very important, the memory of |
| making a picture is a little like consulting the | each photo taken, flowing at the same speed |
| law of gravitation before going for a walk. | as the event. During the work, you have to be |
| Such rules and laws are deduced from the | sure that you haven't left any holes, that you've |
| accomplished fact; they are the products of | captured everything, because afterwards it will |
| reflection . . . - Edward Weston | be too late. - Henri Cartier Bresson |
| | |
| There is nothing worse than a sharp image of | Photography knows how to authenticate its |
| a fuzzy concept. - Ansel Adams | misrepresentations. - Mason Cooley |
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San Antonio |
San Diego |
Rochester |
Jersey City |
Garland |
New Orleans |
Hayward |
Safford |
Liberty |
Alameda |
Fort Lee |
Grand Island |
Fergus Falls |
Deptford |
Chesterton |
North Chicago |
St Johns |
York |
Shoreview |
Morehead |
Sullivan |
Boyne Falls |
Kailua Kona |
St Clairsville |
South Bend |
Castleton On Hudson |
Wayne |
San Ysidro |
Willow Grove |
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| A great photograph is one that fully expresses | The difficulty with color is to go beyond the |
| what one feels, in the deepest sense, about | fact that it's color to have it be not just a |
| what is being photographed. - Ansel | colorful picture but really be a picture about |
| Adams | something. It's difficult. So often color gets |
| | caught up in color, and it becomes merely |
| I think the best pictures are often on the edges | decorative. Some photographers use [ it ] |
| of any situation, I don't find photographing the | brilliantly to make visual statements combining |
| situation nearly as interesting as | color and content; otherwise it is empty. |
| photographing the edges. - William Albert | - Mary Ellen Mark |
| Allard | |
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