| 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 |
| | |
| It is not the language of painters but the | I think you have to have a real point of view |
| language of nature which one should listen to. | that's your own. You have to tell it your way. |
| . . . The feeling for the things themselves, for | And, I think that it's a mistake to shoot for a |
| reality, is more important than the feeling for | specific magazine's point of view because it's |
| pictures. - Vincent Van Gogh | never going to be as good. You have to shoot |
| | for yourself and photograph [the way] you |
| | believe it. - Mary Ellen Mark |
|
|
Detroit |
Chicago |
Dayton |
West Palm Beach |
Summerville |
Layton |
Westlake |
Williamsport |
Alexandria |
Milwaukee |
Louisville |
Smithtown |
Pocahontas |
Wiggins |
Clinton |
Hawley |
Salem |
Alpena |
Pacific |
Tilton |
Ephrata |
|
|
| No place is boring, if you've had a good | The virtue of the camera is not the power it |
| night's sleep and have a pocket full of | has to transform the photographer into an |
| unexposed film. - Robert Adams | artist, but the impulse it gives him to keep on |
| | looking. - Brooks Anderson |
| A picture is the expression of an impression. If | |
| the beautiful were not in us, how would we | A mad, keen photographer needs to get out |
| ever recognize it? - Ernst Haas | into the world and work and make mistakes. |
| | - Sam Abell |
| You learn to see by practice. It's just like | |
| playing tennis, you get better the more you | The difficulty with color is to go beyond the |
| play. The more you look around at things, the | fact that it's color to have it be not just a |
| more you see. The more you photograph, the | colorful picture but really be a picture about |
| more you realize what can be photographed | something. It's difficult. So often color gets |
| and what can't be photographed. You just have | caught up in color, and it becomes merely |
| to keep doing it. - Eliot Porter | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
|