| Keep it simple. - Alfred Eienstaedt | ...words and pictures can work together to |
| | communicate more powerfully than either |
| A good picture is equivalent to a good deed. | alone. -William Albert Allard |
| - Vincent Van Gogh | |
| | Memory is very important, the memory of |
| You learn to see by practice. It's just like | each photo taken, flowing at the same speed |
| playing tennis, you get better the more you | as the event. During the work, you have to be |
| play. The more you look around at things, the | sure that you haven't left any holes, that you've |
| more you see. The more you photograph, the | captured everything, because afterwards it will |
| more you realize what can be photographed | be too late. - Henri Cartier Bresson |
| and what can't be photographed. You just have | |
| to keep doing it. - Eliot Porter | |
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Los Angeles |
San Antonio |
Chicago |
Omaha |
Miami |
Beaumont |
Baton Rouge |
Racine |
Kalamazoo |
Longwood |
Crossville |
Greeley |
Schaumburg |
Manassas |
Duluth |
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Wheeling |
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State College |
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Candler |
Sturgis |
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North Ridgeville |
Belgrade |
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| [Photography] is a way of feeling, of touching, | The virtue of the camera is not the power it |
| of loving. What you have caught on film is | has to transform the photographer into an |
| captured forever . . . it remembers little things, | artist, but the impulse it gives him to keep on |
| long after you have forgotten everything. | looking. - Brooks Anderson |
| - Aaron Siskind | |
| | My own eyes are no more than scouts on a |
| "Simply look with perceptive eyes at the | preliminary search, for the camera's eye may |
| world about you, and trust to your own | entirely change my idea. - Edward |
| reactions and convictions. Ask yourself: | Weston |
| "Does this subject move me to feel, think | |
| and dream? Can I visualize a print - my own | |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | |
| - Ansel Adams | |
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