| "Simply look with perceptive eyes at the | Photography is a major force in explaining |
| world about you, and trust to your own | man to man. - Edward Steichen |
| reactions and convictions. Ask yourself: | |
| "Does this subject move me to feel, think | Photography knows how to authenticate its |
| and dream? Can I visualize a print - my own | misrepresentations. - Mason Cooley |
| personal statement of what I feel and want to | |
| convey - from the subject before me?" | Pictures you have taken have an influence on |
| - Ansel Adams | those that you are going to make. |
| | That's life! - John Sexton |
| It is not the language of painters but the | |
| language of nature which one should listen to. | |
| . . . The feeling for the things themselves, for | |
| reality, is more important than the feeling for | |
| pictures. - Vincent Van Gogh | |
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Dallas |
Jackson |
Pasadena |
Bay City |
Moberly |
Sanford |
Yuma |
Lawrenceville |
Clovis |
Malden |
Beaver Dam |
Travelers Rest |
Carteret |
Joplin |
Concord |
Jackson |
Henderson |
Madison |
Teaneck |
Bellville |
Thomasville |
Cocanut Grove |
Gardiner |
Augusta |
Salida |
Hannibal |
West Seneca |
Stillwater |
Atkins |
Surprise |
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| The virtue of the camera is not the power it | A great photograph is one that fully expresses |
| has to transform the photographer into an | what one feels, in the deepest sense, about |
| artist, but the impulse it gives him to keep on | what is being photographed. - Ansel |
| looking. - Brooks Anderson | Adams |
| | |
| A mad, keen photographer needs to get out | I think the best pictures are often on the edges |
| into the world and work and make mistakes. | of any situation, I don't find photographing the |
| - Sam Abell | situation nearly as interesting as |
| | photographing the edges. - William Albert |
| One should really use the camera as though | Allard |
| tomorrow you'd be stricken blind. | |
| - Dorothea Lange | |
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