| A great photograph is one that fully expresses | I think you have to have a real point of view |
| what one feels, in the deepest sense, about | that's your own. You have to tell it your way. |
| what is being photographed. - Ansel | And, I think that it's a mistake to shoot for a |
| Adams | specific magazine's point of view because it's |
| | never going to be as good. You have to shoot |
| You learn to see by practice. It's just like | for yourself and photograph [the way] you |
| playing tennis, you get better the more you | believe it. - Mary Ellen Mark |
| play. The more you look around at things, the | |
| more you see. The more you photograph, the | ...words and pictures can work together to |
| more you realize what can be photographed | communicate more powerfully than either |
| and what can't be photographed. You just have | alone. -William Albert Allard |
| to keep doing it. - Eliot Porter | |
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| The virtue of the camera is not the power it | [Photography] is a way of feeling, of touching, |
| has to transform the photographer into an | of loving. What you have caught on film is |
| artist, but the impulse it gives him to keep on | captured forever . . . it remembers little things, |
| looking. - Brooks Anderson | long after you have forgotten everything. |
| | - Aaron Siskind |
| The difficulty with color is to go beyond the | |
| fact that it's color to have it be not just a | There is nothing worse than a sharp image of |
| colorful picture but really be a picture about | a fuzzy concept. - Ansel Adams |
| something. It's difficult. So often color gets | |
| caught up in color, and it becomes merely | It is not the language of painters but the |
| decorative. Some photographers use [ it ] | language of nature which one should listen to. |
| brilliantly to make visual statements combining | . . . The feeling for the things themselves, for |
| color and content; otherwise it is empty. | reality, is more important than the feeling for |
| - Mary Ellen Mark | pictures. - Vincent Van Gogh |
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