| Keep it simple. - Alfred Eienstaedt | Memory is very important, the memory of |
| | each photo taken, flowing at the same speed |
| I think the best pictures are often on the edges | as the event. During the work, you have to be |
| of any situation, I don't find photographing the | sure that you haven't left any holes, that you've |
| situation nearly as interesting as | captured everything, because afterwards it will |
| photographing the edges. - William Albert | be too late. - Henri Cartier Bresson |
| Allard | |
| | I think you have to have a real point of view |
| You can find pictures anywhere. It's simply a | that's your own. You have to tell it your way. |
| matter of noticing things and organizing them. | And, I think that it's a mistake to shoot for a |
| You just have to care about what's around you | specific magazine's point of view because it's |
| and have a concern with humanity and the | never going to be as good. You have to shoot |
| human comedy. - Elliott Erwitt | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
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| "Simply look with perceptive eyes at the | The difficulty with color is to go beyond the |
| world about you, and trust to your own | fact that it's color to have it be not just a |
| reactions and convictions. Ask yourself: | colorful picture but really be a picture about |
| "Does this subject move me to feel, think | something. It's difficult. So often color gets |
| and dream? Can I visualize a print - my own | caught up in color, and it becomes merely |
| personal statement of what I feel and want to | decorative. Some photographers use [ it ] |
| convey - from the subject before me?" | brilliantly to make visual statements combining |
| - Ansel Adams | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
| There is nothing worse than a sharp image of | |
| a fuzzy concept. - Ansel Adams | |
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