| Photography records the gamut of feelings | It is not the language of painters but the |
| written on the human face, the beauty of the | language of nature which one should listen to. |
| earth and skies that man has inherited and the | . . . The feeling for the things themselves, for |
| wealth and confusion man has created. | reality, is more important than the feeling for |
| - Edward Steichen | pictures. - Vincent Van Gogh |
| | |
| Memory is very important, the memory of | "Simply look with perceptive eyes at the |
| each photo taken, flowing at the same speed | world about you, and trust to your own |
| as the event. During the work, you have to be | reactions and convictions. Ask yourself: |
| sure that you haven't left any holes, that you've | "Does this subject move me to feel, think |
| captured everything, because afterwards it will | and dream? Can I visualize a print - my own |
| be too late. - Henri Cartier Bresson | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| | - Ansel Adams |
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Houston |
Chicago |
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Union |
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Stone Mountain |
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Erwin |
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| Photography suits the temper of this ageof | Keep it simple. - Alfred Eienstaedt |
| active bodies and minds. It is a perfect | |
| medium for one whose mind is teeming with | A great photograph is one that fully expresses |
| ideas, imagery, for a prolific worker who | what one feels, in the deepest sense, about |
| would be slowed down by painting or | what is being photographed. - Ansel |
| sculpting, for one who sees quickly and acts | Adams |
| decisively, accurately. - Edward Weston | |
| | I think the best pictures are often on the edges |
| The virtue of the camera is not the power it | of any situation, I don't find photographing the |
| has to transform the photographer into an | situation nearly as interesting as |
| artist, but the impulse it gives him to keep on | photographing the edges. - William Albert |
| looking. - Brooks Anderson | Allard |
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