| Above all, it's hard learning to live with vivid | Memory is very important, the memory of |
| mental images of scenes I cared for and failed | each photo taken, flowing at the same speed |
| to photograph. It is the edgy existence within | as the event. During the work, you have to be |
| me of these unmade images that is the only | sure that you haven't left any holes, that you've |
| assurance that the best photographs are yet to | captured everything, because afterwards it will |
| be made. - Sam Abell | be too late. - Henri Cartier Bresson |
| | |
| Once photography enters your bloodstream, | You've got to push yourself harder. You've got |
| it's like a disease. - Anon | to start looking for pictures nobody else could |
| | take. You've got to take the tools you have and |
| | probe deeper. - William Albert Allard |
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San Antonio |
Cleveland |
Columbus |
Cincinnati |
Reno |
Longwood |
Warsaw |
Parsippany |
Durham |
Bellingham |
Boone |
Lancaster |
Whiteville |
Lebanon |
Romulus |
Bloomsburg |
Reston |
Morrow |
Pekin |
Wapakoneta |
Bowie |
Hasbrouck Heights |
Kansas City |
Taylorsville |
Port Allen |
Rhinelander |
Smithtown |
Fort Mitchell |
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| The difficulty with color is to go beyond the | I think the best pictures are often on the edges |
| fact that it's color to have it be not just a | of any situation, I don't find photographing the |
| colorful picture but really be a picture about | situation nearly as interesting as |
| something. It's difficult. So often color gets | photographing the edges. - William Albert |
| caught up in color, and it becomes merely | Allard |
| decorative. Some photographers use [ it ] | |
| brilliantly to make visual statements combining | A picture is the expression of an impression. If |
| color and content; otherwise it is empty. | the beautiful were not in us, how would we |
| - Mary Ellen Mark | ever recognize it? - Ernst Haas |
|