| Memory is very important, the memory of | A picture is the expression of an impression. If |
| each photo taken, flowing at the same speed | the beautiful were not in us, how would we |
| as the event. During the work, you have to be | ever recognize it? - Ernst Haas |
| sure that you haven't left any holes, that you've | |
| captured everything, because afterwards it will | You learn to see by practice. It's just like |
| be too late. - Henri Cartier Bresson | playing tennis, you get better the more you |
| | play. The more you look around at things, the |
| ...words and pictures can work together to | more you see. The more you photograph, the |
| communicate more powerfully than either | more you realize what can be photographed |
| alone. -William Albert Allard | and what can't be photographed. You just have |
| | to keep doing it. - Eliot Porter |
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New York |
Tulsa |
Brooklyn |
Nashville |
Tyler |
Naperville |
Waco |
San Francisco |
Wichita Falls |
Port Huron |
Bradford |
Richmond |
Rutland |
San Bernardino |
Roslyn |
Los Gatos |
Washington |
Stockton |
Woburn |
St. Marys |
Covington |
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| "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 |
| There is nothing worse than a sharp image of | |
| a fuzzy concept. - Ansel Adams | |
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