| Photography records the gamut of feelings | A mad, keen photographer needs to get out |
| written on the human face, the beauty of the | into the world and work and make mistakes. |
| earth and skies that man has inherited and the | - Sam Abell |
| wealth and confusion man has created. | |
| - Edward Steichen | One should really use the camera as though |
| | tomorrow you'd be stricken blind. |
| I think you have to have a real point of view | - Dorothea Lange |
| that's your own. You have to tell it your way. | |
| And, I think that it's a mistake to shoot for a | The virtue of the camera is not the power it |
| specific magazine's point of view because it's | has to transform the photographer into an |
| never going to be as good. You have to shoot | artist, but the impulse it gives him to keep on |
| for yourself and photograph [the way] you | looking. - Brooks Anderson |
| believe it. - Mary Ellen Mark | |
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New York |
Philadelphia |
Phoenix |
Cleveland |
El Paso |
Baltimore |
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Houston |
Pensacola |
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West Covina |
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Branford |
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| Sometimes you can tell a large story with a | It is not the language of painters but the |
| tiny subject. - Eliot Porter | language of nature which one should listen to. |
| | . . . The feeling for the things themselves, for |
| A picture is the expression of an impression. If | reality, is more important than the feeling for |
| the beautiful were not in us, how would we | pictures. - Vincent Van Gogh |
| ever recognize it? - Ernst Haas | |
| | Now to consult the rules of composition before |
| You can find pictures anywhere. It's simply a | making a picture is a little like consulting the |
| matter of noticing things and organizing them. | law of gravitation before going for a walk. |
| You just have to care about what's around you | Such rules and laws are deduced from the |
| and have a concern with humanity and the | accomplished fact; they are the products of |
| human comedy. - Elliott Erwitt | reflection . . . - Edward Weston |
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