| Above all, it's hard learning to live with vivid | Photography suits the temper of this ageof |
| mental images of scenes I cared for and failed | active bodies and minds. It is a perfect |
| to photograph. It is the edgy existence within | medium for one whose mind is teeming with |
| me of these unmade images that is the only | ideas, imagery, for a prolific worker who |
| assurance that the best photographs are yet to | would be slowed down by painting or |
| be made. - Sam Abell | sculpting, for one who sees quickly and acts |
| | decisively, accurately. - Edward Weston |
| "Simply look with perceptive eyes at the | |
| world about you, and trust to your own | The difficulty with color is to go beyond the |
| reactions and convictions. Ask yourself: | fact that it's color to have it be not just a |
| "Does this subject move me to feel, think | colorful picture but really be a picture about |
| and dream? Can I visualize a print - my own | something. It's difficult. So often color gets |
| personal statement of what I feel and want to | caught up in color, and it becomes merely |
| convey - from the subject before me?" | decorative. Some photographers use [ it ] |
| - Ansel Adams | brilliantly to make visual statements combining |
| | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
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|
Chicago |
San Diego |
Tampa |
Jacksonville |
Long Beach |
Pleasanton |
Glendora |
Layton |
Pompano Beach |
Niagara Falls |
Fort Collins |
Selma |
Tuscaloosa |
League City |
Marietta |
Temecula |
Emmetsburg |
Racine |
Shelbyville |
Hazard |
Spring Hill |
Fairborn |
Chesterfield |
St. George |
Ft. Mill |
Massapequa Park |
Melbourne |
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| Memory is very important, the memory of | Keep it simple. - Alfred Eienstaedt |
| each photo taken, flowing at the same speed | |
| as the event. During the work, you have to be | No place is boring, if you've had a good |
| sure that you haven't left any holes, that you've | night's sleep and have a pocket full of |
| captured everything, because afterwards it will | unexposed film. - Robert Adams |
| be too late. - Henri Cartier Bresson | |
| | Sometimes you can tell a large story with a |
| I think you have to have a real point of view | tiny subject. - Eliot Porter |
| that's your own. You have to tell it your way. | |
| And, I think that it's a mistake to shoot for a | You can find pictures anywhere. It's simply a |
| specific magazine's point of view because it's | matter of noticing things and organizing them. |
| never going to be as good. You have to shoot | You just have to care about what's around you |
| for yourself and photograph [the way] you | and have a concern with humanity and the |
| believe it. - Mary Ellen Mark | human comedy. - Elliott Erwitt |
|