| Photography is a major force in explaining | You can find pictures anywhere. It's simply a |
| man to man. - Edward Steichen | matter of noticing things and organizing them. |
| | You just have to care about what's around you |
| I think you have to have a real point of view | and have a concern with humanity and the |
| that's your own. You have to tell it your way. | human comedy. - Elliott Erwitt |
| And, I think that it's a mistake to shoot for a | |
| specific magazine's point of view because it's | I think the best pictures are often on the edges |
| never going to be as good. You have to shoot | of any situation, I don't find photographing the |
| for yourself and photograph [the way] you | situation nearly as interesting as |
| believe it. - Mary Ellen Mark | photographing the edges. - William Albert |
| | Allard |
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Houston |
Atlanta |
San Francisco |
Orlando |
Albuquerque |
Jacksonville |
Wichita |
Buffalo |
Miami |
Arlington |
Livonia |
Southgate |
Lafayette |
Birmingham |
Redmond |
West Helena |
Laguna Beach |
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Kinston |
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Rochester |
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| The difficulty with color is to go beyond the | Now to consult the rules of composition before |
| fact that it's color to have it be not just a | making a picture is a little like consulting the |
| colorful picture but really be a picture about | law of gravitation before going for a walk. |
| something. It's difficult. So often color gets | Such rules and laws are deduced from the |
| caught up in color, and it becomes merely | accomplished fact; they are the products of |
| decorative. Some photographers use [ it ] | reflection . . . - Edward Weston |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | Above all, it's hard learning to live with vivid |
| - Mary Ellen Mark | mental images of scenes I cared for and failed |
| | to photograph. It is the edgy existence within |
| | me of these unmade images that is the only |
| | assurance that the best photographs are yet to |
| | be made. - Sam Abell |
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