| Memory is very important, the memory of | A mad, keen photographer needs to get out |
| each photo taken, flowing at the same speed | into the world and work and make mistakes. |
| as the event. During the work, you have to be | - Sam Abell |
| sure that you haven't left any holes, that you've | |
| captured everything, because afterwards it will | I almost never set out to photograph a |
| be too late. - Henri Cartier Bresson | landscape, nor do I think of my camera as a |
| | means of recording a mountain or an animal |
| Photography knows how to authenticate its | unless I absolutely need a 'record shot'. My |
| misrepresentations. - Mason Cooley | first thought is always of light. - Galen |
| | Rowell |
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Brooklyn |
Los Angeles |
New York |
Omaha |
Charlotte |
Tyler |
Tulsa |
Santa Ana |
San Mateo |
Mobile |
Fayetteville |
Lawton |
Anderson |
Norwalk |
Jacksonville |
Albertville |
Poughkeepsie |
Shelbyville |
Hillsville |
Lewes |
Tomball |
Rushville |
Christiansburg |
Belgrade |
Binghamton |
Reidsville |
Point South |
Parachute |
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| Sometimes you can tell a large story with a | Above all, it's hard learning to live with vivid |
| tiny subject. - Eliot Porter | mental images of scenes I cared for and failed |
| | to photograph. It is the edgy existence within |
| A good picture is equivalent to a good deed. | me of these unmade images that is the only |
| - Vincent Van Gogh | assurance that the best photographs are yet to |
| | be made. - Sam Abell |
| I think the best pictures are often on the edges | |
| of any situation, I don't find photographing the | "Simply look with perceptive eyes at the |
| situation nearly as interesting as | world about you, and trust to your own |
| photographing the edges. - William Albert | reactions and convictions. Ask yourself: |
| Allard | "Does this subject move me to feel, think |
| | and dream? Can I visualize a print - my own |
| | personal statement of what I feel and want to |
| | convey - from the subject before me?" |
| | - Ansel Adams |
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