| You can find pictures anywhere. It's simply a | There is nothing worse than a sharp image of |
| matter of noticing things and organizing them. | a fuzzy concept. - Ansel Adams |
| You just have to care about what's around you | |
| and have a concern with humanity and the | Now to consult the rules of composition before |
| human comedy. - Elliott Erwitt | making a picture is a little like consulting the |
| | law of gravitation before going for a walk. |
| A great photograph is one that fully expresses | Such rules and laws are deduced from the |
| what one feels, in the deepest sense, about | accomplished fact; they are the products of |
| what is being photographed. - Ansel | reflection . . . - Edward Weston |
| Adams | |
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Houston |
Los Angeles |
Philadelphia |
Tampa |
Seattle |
Denver |
Fort Lauderdale |
Beaumont |
Mansfield |
Palm Bay |
Wheeling |
Glendora |
Creve Coeur |
Temecula |
Dexter |
Highland |
Fostoria |
Big Rapids |
Hendersonville |
Oakland |
Heber |
Alpharetta |
Ketchum |
Wooster |
Florida City |
Monroe |
Itasca |
Gray |
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| Memory is very important, the memory of | A mad, keen photographer needs to get out |
| each photo taken, flowing at the same speed | into the world and work and make mistakes. |
| as the event. During the work, you have to be | - Sam Abell |
| sure that you haven't left any holes, that you've | |
| captured everything, because afterwards it will | The camera makes everyone a tourist in other |
| be too late. - Henri Cartier Bresson | people's reality. - Susan Sontag |
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| Photography is about finding out what can | The virtue of the camera is not the power it |
| happen in the frame. When you put four | has to transform the photographer into an |
| edges around some facts, you change those | artist, but the impulse it gives him to keep on |
| facts. - Gary Winogrand | looking. - Brooks Anderson |
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