| "Simply look with perceptive eyes at the | Photography suits the temper of this ageof |
| world about you, and trust to your own | active bodies and minds. It is a perfect |
| reactions and convictions. Ask yourself: | medium for one whose mind is teeming with |
| "Does this subject move me to feel, think | ideas, imagery, for a prolific worker who |
| and dream? Can I visualize a print - my own | would be slowed down by painting or |
| personal statement of what I feel and want to | sculpting, for one who sees quickly and acts |
| convey - from the subject before me?" | decisively, accurately. - Edward Weston |
| - Ansel Adams | |
| | A mad, keen photographer needs to get out |
| [Photography] is a way of feeling, of touching, | into the world and work and make mistakes. |
| of loving. What you have caught on film is | - Sam Abell |
| captured forever . . . it remembers little things, | |
| long after you have forgotten everything. | |
| - Aaron Siskind | |
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Chicago |
Philadelphia |
Syracuse |
Arlington |
Omaha |
Fredericksburg |
Spokane |
Tallahassee |
Auburn |
Duncanville |
Ashland |
Richardson |
Camarillo |
Santa Monica |
Edmond |
Redwood City |
Irmo |
Mendota |
Bridgeport |
Fairhope |
Victoria |
Folsom |
Urbandale |
North Platte |
New Castle |
New Ulm |
Milford |
Weldon |
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| A picture is the expression of an impression. If | I think you have to have a real point of view |
| the beautiful were not in us, how would we | that's your own. You have to tell it your way. |
| ever recognize it? - Ernst Haas | And, I think that it's a mistake to shoot for a |
| | specific magazine's point of view because it's |
| No place is boring, if you've had a good | never going to be as good. You have to shoot |
| night's sleep and have a pocket full of | for yourself and photograph [the way] you |
| unexposed film. - Robert Adams | believe it. - Mary Ellen Mark |
| | |
| A great photograph is one that fully expresses | Memory is very important, the memory of |
| what one feels, in the deepest sense, about | each photo taken, flowing at the same speed |
| what is being photographed. - Ansel | as the event. During the work, you have to be |
| Adams | sure that you haven't left any holes, that you've |
| | captured everything, because afterwards it will |
| | be too late. - Henri Cartier Bresson |
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