| "Simply look with perceptive eyes at the | Memory is very important, the memory of |
| world about you, and trust to your own | each photo taken, flowing at the same speed |
| reactions and convictions. Ask yourself: | as the event. During the work, you have to be |
| "Does this subject move me to feel, think | sure that you haven't left any holes, that you've |
| and dream? Can I visualize a print - my own | captured everything, because afterwards it will |
| personal statement of what I feel and want to | be too late. - Henri Cartier Bresson |
| convey - from the subject before me?" | |
| - Ansel Adams | Photography is about finding out what can |
| | happen in the frame. When you put four |
| Photography takes an instant out of time, | edges around some facts, you change those |
| altering life by holding it still. - Dorothea | facts. - Gary Winogrand |
| Lange | |
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| 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 | |
| | The camera makes everyone a tourist in other |
| You learn to see by practice. It's just like | people's reality. - Susan Sontag |
| playing tennis, you get better the more you | |
| play. The more you look around at things, the | My own eyes are no more than scouts on a |
| more you see. The more you photograph, the | preliminary search, for the camera's eye may |
| more you realize what can be photographed | entirely change my idea. - Edward |
| and what can't be photographed. You just have | Weston |
| to keep doing it. - Eliot Porter | |
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