| 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 | You learn to see by practice. It's just like |
| sure that you haven't left any holes, that you've | playing tennis, you get better the more you |
| captured everything, because afterwards it will | play. The more you look around at things, the |
| be too late. - Henri Cartier Bresson | more you see. The more you photograph, the |
| | more you realize what can be photographed |
| Photography knows how to authenticate its | and what can't be photographed. You just have |
| misrepresentations. - Mason Cooley | to keep doing it. - Eliot Porter |
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New York |
Houston |
Memphis |
Phoenix |
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Tallahassee |
Mesa |
Louisville |
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Fair Lawn |
Chillicothe |
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Center |
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| A mad, keen photographer needs to get out | [Photography] is a way of feeling, of touching, |
| into the world and work and make mistakes. | of loving. What you have caught on film is |
| - Sam Abell | captured forever . . . it remembers little things, |
| | long after you have forgotten everything. |
| The camera makes everyone a tourist in other | - Aaron Siskind |
| people's reality. - Susan Sontag | |
| | "Simply look with perceptive eyes at the |
| The difficulty with color is to go beyond the | world about you, and trust to your own |
| fact that it's color to have it be not just a | reactions and convictions. Ask yourself: |
| colorful picture but really be a picture about | "Does this subject move me to feel, think |
| something. It's difficult. So often color gets | and dream? Can I visualize a print - my own |
| caught up in color, and it becomes merely | personal statement of what I feel and want to |
| decorative. Some photographers use [ it ] | convey - from the subject before me?" |
| brilliantly to make visual statements combining | - Ansel Adams |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
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