| Memory is very important, the memory of | The difficulty with color is to go beyond the |
| each photo taken, flowing at the same speed | fact that it's color to have it be not just a |
| as the event. During the work, you have to be | colorful picture but really be a picture about |
| sure that you haven't left any holes, that you've | something. It's difficult. So often color gets |
| captured everything, because afterwards it will | caught up in color, and it becomes merely |
| be too late. - Henri Cartier Bresson | decorative. Some photographers use [ it ] |
| | brilliantly to make visual statements combining |
| Photography knows how to authenticate its | color and content; otherwise it is empty. |
| misrepresentations. - Mason Cooley | - Mary Ellen Mark |
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Indianapolis |
Fort Worth |
Tampa |
Los Angeles |
Houston |
Boca Raton |
Birmingham |
Lubbock |
Dothan |
Beaufort |
Paris |
Livingston |
Kenmore |
Ithaca |
Arlington |
Marshall |
Huntsville |
Vernal |
Sullivan |
Williamsport |
Austinburg |
Mocksville |
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| Keep it simple. - Alfred Eienstaedt | [Photography] is a way of feeling, of touching, |
| | of loving. What you have caught on film is |
| A great photograph is one that fully expresses | captured forever . . . it remembers little things, |
| what one feels, in the deepest sense, about | long after you have forgotten everything. |
| what is being photographed. - Ansel | - Aaron Siskind |
| Adams | |
| | "Simply look with perceptive eyes at the |
| Sometimes you can tell a large story with a | world about you, and trust to your own |
| tiny subject. - Eliot Porter | reactions and convictions. Ask yourself: |
| | "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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