| Photography knows how to authenticate its | Photography is my passion. - Alfred |
| misrepresentations. - Mason Cooley | Stieglitz |
| | |
| Memory is very important, the memory of | Now to consult the rules of composition before |
| each photo taken, flowing at the same speed | making a picture is a little like consulting the |
| as the event. During the work, you have to be | law of gravitation before going for a walk. |
| sure that you haven't left any holes, that you've | Such rules and laws are deduced from the |
| captured everything, because afterwards it will | accomplished fact; they are the products of |
| be too late. - Henri Cartier Bresson | reflection . . . - Edward Weston |
|
|
Chicago |
New York |
San Diego |
San Jose |
Wilmington |
St. Louis |
Santa Ana |
Carlsbad |
Marietta |
Manchester |
Hemet |
Seattle |
Westlake |
Metairie |
Danbury |
Dorchester |
Fayetteville |
Polson |
Bellevue |
Belleville |
Gunnison |
Palm Beach Gardens |
Mattoon |
West Columbia |
|
|
| You learn to see by practice. It's just like | A mad, keen photographer needs to get out |
| playing tennis, you get better the more you | into the world and work and make mistakes. |
| play. The more you look around at things, the | - Sam Abell |
| more you see. The more you photograph, the | |
| more you realize what can be photographed | The difficulty with color is to go beyond the |
| and what can't be photographed. You just have | fact that it's color to have it be not just a |
| to keep doing it. - Eliot Porter | colorful picture but really be a picture about |
| | something. It's difficult. So often color gets |
| A great photograph is one that fully expresses | caught up in color, and it becomes merely |
| what one feels, in the deepest sense, about | decorative. Some photographers use [ it ] |
| what is being photographed. - Ansel | brilliantly to make visual statements combining |
| Adams | color and content; otherwise it is empty. |
| | - Mary Ellen Mark |
|