| No place is boring, if you've had a good | "Simply look with perceptive eyes at the |
| night's sleep and have a pocket full of | world about you, and trust to your own |
| unexposed film. - Robert Adams | reactions and convictions. Ask yourself: |
| | "Does this subject move me to feel, think |
| A great photograph is one that fully expresses | and dream? Can I visualize a print - my own |
| what one feels, in the deepest sense, about | personal statement of what I feel and want to |
| what is being photographed. - Ansel | convey - from the subject before me?" |
| Adams | - Ansel Adams |
| | |
| You learn to see by practice. It's just like | Now to consult the rules of composition before |
| playing tennis, you get better the more you | making a picture is a little like consulting the |
| play. The more you look around at things, the | law of gravitation before going for a walk. |
| more you see. The more you photograph, the | Such rules and laws are deduced from the |
| more you realize what can be photographed | accomplished fact; they are the products of |
| and what can't be photographed. You just have | reflection . . . - Edward Weston |
| to keep doing it. - Eliot Porter | |
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Sacramento |
Baltimore |
Oakland |
Littleton |
Carlsbad |
Ogden |
Dothan |
Gastonia |
Valdosta |
Lancaster |
Shreveport |
Newark |
Butler |
Green Bay |
Bessemer |
Levittown |
Lafayette |
Vernal |
Buffalo |
Lock Haven |
Stuttgart |
Los Alamos |
Tappahannock |
Birch Run |
Gorman |
Thurmont |
Bellflower |
Mukilteo |
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| A mad, keen photographer needs to get out | Pictures you have taken have an influence on |
| into the world and work and make mistakes. | those that you are going to make. |
| - Sam Abell | That's life! - John Sexton |
| | |
| The difficulty with color is to go beyond the | Memory is very important, the memory of |
| fact that it's color to have it be not just a | each photo taken, flowing at the same speed |
| colorful picture but really be a picture about | as the event. During the work, you have to be |
| something. It's difficult. So often color gets | sure that you haven't left any holes, that you've |
| caught up in color, and it becomes merely | captured everything, because afterwards it will |
| decorative. Some photographers use [ it ] | be too late. - Henri Cartier Bresson |
| brilliantly to make visual statements combining | |
| color and content; otherwise it is empty. | |
| - Mary Ellen Mark | |
|