“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures”

~ Don McCullin

“Landscape is nearly always present in one way or another in my work. Perhaps the key here is the triple meaning of “landscape”, a type of picture, a type of view and a type of place. The three cannot really be separated. The experience of a place is shaped in advance by our experience of images of it and of related places. It is easy to realize this but coming to terms with the profound implication of it can take a long time. It is a moving dynamic."

~ Anastasia Samoylova

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“The real truth of life is on the streets. Photograph the daily lives of people and how they exist and how they fight for space and time and pleasure”

 

~ Don McCullin

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"This photograph is a negative print: what we see here is the tonal reverse of the positive original. How it was made, however, does not intrude on our visual experience of the image, and this was important to Bullock. For some, this is a picture of fertility, generation and abundant life. The fact that these qualities are expressed through rock – a rock filled with seed pebbles aglow with new life – only serves to enhance and extend our appreciation of them."

 

~ Chris Johnson and Barbara Bullock-Wilson
from Wynn Bullock: 55, Phaidon Press, 2001

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“It’s a romantic, emotional moment in time”

 

~ Ansel Adams
(1902-1984)

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“Everything inside the frame is equally important”

 

~ Pentti Sammallahti

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"I find the south Iceland coast to be ever compelling. The conditions of lighting and weather are constantly in transition (often quite cold and windy). Sometimes the sky, sea, and land seem to merge seemingly without separation. It’s a wondrous, vast, and elemental place. A place to find perspective."

 

~ Jeffrey Conley

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"Photography is a medium, a language, through which I might come to experience directly, live more closely with, the interaction between myself and nature."

 

~ Paul Caponigro

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"My collecting mantra is very simple: always be open and receptive, and only collect something that moves you or changes you in some way.  Collecting is like reading a great novel; you are one person before and one person after. That’s the litmus test on whether or not you should acquire an image. Does it haunt you?"

 

~ Peter Fetterman

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“Ah! when shall all men’s good
Be each man’s rule, and Universal Peace
Lie like a shaft of light across the land…”

 

~ Alfred Lord Tennyson,
from the poem The Golden Year, 1842

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“I’ve entered into an unspoken, unwritten, and generally inscrutable pact with the people I have photographed and lived amongst. If I promise not to tell all I know about them, they will do the same for me”

~ Kurt Markus

(1947 - 2022)

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“I think I was shy as a young woman and realized that photography was an ideal way to of expressing myself, of telling people what was going on without having to talk”

 

~ Martine Franck
(1938-2012)

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“The cliché is true: you must navigate through darkness to reach the lighter parts. The darker parts serve as the humus ground to nurture the light.”

~ Paul Cupido 

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“The Dew Pond looks like someone put a silver plate on the landscape”

~ Don McCullin

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“When nature is present we don’t recognize that it’s there. However when it’s gone or changed in some way, only then do we realize that it has been around. In other words, only at the moment of loss are memories restored”

~ Byung Hun Min

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“I try not to make conscious decisions about what I am looking for. I don’t make elaborate preparation before I go to a location. Essentially I walk, explore, discover and photograph.“

~Michael Kenna 

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“I first came to Somerset in 1940. I was sent here as an evacuee during the Second World War. I was five when I arrived at Frome station wearing a gas mask, hand in hand with my three year old sister. We were selected for the same beautiful village, Norton St Philip, but we were separated. My sister went to the big house, while I went to a farm laborers home. We had come from a family living in poverty amid the violence of Finsbury Park. I’ve always held onto those childhood memories of streams snaking through hazel trees and cows standing in the grass looking lost. Somerset was yeoman farmer’s country with hedged fields that looked like quilted blankets and hedgerows covered in buttercups”

 

~ Don McCullin

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"I see pictures I would like to take. I need another lifetime to photograph San Francisco. But my life has been so much fun I can't believe it”

 

~ Fred Lyon
(1924-2022)

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“It is salutary to contemplate the landscapes of Bellini, Hokusai, Poussin, Corot, Cezanne, Bonnard and so many others and to go out into nature yourself, pencil in hand”

 

~ Henri Cartier-Bresson
(1908 - 2004)

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“While human life is fleeting, our individual lives are a rich tapestry of experience an memories”

 

~ Paul Cupido

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“Come forth into the light of things, let nature be your teacher.”

 

- William Wordsworth

 

 

"We live in trying times. Maybe this is the one thing everyone can agree on. There is a soothing and meditative quality to observing gently breaking waves. From the sounds to the random designs of the unique patterns; these experiences can transform us by shifting focus to something real, primal, and foundational. Such was the case of this photograph, made from the Venice (California) pier. I wanted to distill the shapes I was observing into core, minimalist elements."

 

~ Jeffrey Conley

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"Driving alone in Hokkaido, some twenty years ago, I was startled to see an attractive fence, climbing up a snow-covered hillside. I stopped the car by the side of the road and photographed it. Later, I would need a truck driver to tow me out of the field of snow where I had inadvertently parked, but that’s another story. Almost every year since, I have returned to Hokkaido and have continued to photograph this fence and the hillside. The minimalism and sheer simplicity of the scene transforms three dimensions into two, and the sparse elements involved seem to make the print more like a Sumi-e ink painting than a photograph. One might think that little could change, year in year out, in such a scene. Yet, each time I revisit, I find that it is different. Perhaps a new pattern and configuration has appeared, an arrangement of forms changes, distance seems to contract or lengthen to become ambiguous, perspectives may shift, snow levels always vary, and the light is never the same. I am so appreciative of this location. It is a gift which keeps giving."

~ Michael Kenna

"The morning had been far from easy. I had been walking in snow shoes for over an hour, up a steep hill, with Tsuyoshi, my Hokkaido guide of almost twenty years. It was pre-dawn and freezing cold. I had almost reached our goal - a specific tree which sat on a high horizon. My normal modus operandi is to make pictures from a distance with my Hasselblad cameras before moving closer. There is a practical aspect to this as it avoids messing up the foreground with footprints. Eventually, I reached what I considered to be the perfect spot for the best perspective on the tree and I stamped down the snow so that I could plant the tripod. Framing and focussing on the tree, I measured the light with my exposure meter, breathed in and slowly pressed the cable release to trigger the camera shutter. A healthy Hasselblad exposure sounded. Winding the film on, I bracketed half a stop as I often do, and attempted another exposure. This time, nothing happened. My lens had jammed. In my experience, old mechanical cameras sometimes misbehave in sub zero conditions. I don’t blame them - so do I - or would like to. I was not worried. Being a “professional", I always carried two camera bodies with me when out in the landscape. After swapping them out, I went through the same process, pressed the shutter and, only silence. In all of my 50 years of photographing, I have never before had two cameras break down at the same time. After much fumbling around in the cold, cajoling, pleading, cursing, and trying every which way to remedy the situation, I had to give up and return to base. Once back at our car, Tsuyoshi phoned around Hokkaido and finally found a ninety year old camera repair person, many miles away in Asahikawa, who would attempt to repair my cameras. He was able to temporarily fix one, but not the other, and expressed uncertainly that ANY of the photographs I had made that morning, before the camera jammed, would come out. Imagine my delight (and relief) then, months later, after the film was processed, to find this one, well-exposed, image on the film. I consider myself very lucky, and, when its comes down to it, surely, good fortune is one of the most valuable pieces of equipment a photographer can possibly be blessed with."

~ Michael Kenna

We were traveling along the Redwood Highway trying to find a place to have a picnic. The road was so littered with cans and rubbish that we rode for miles and couldn’t find a place. Finally, we just went off and had our lunch amid the litter. When it was over, I wandered off the highway about 150 feet and saw this incredible scene. It was an ancient virginal forest. Barbara [my daughter] was with us. She was a young virginal child. I knew the qualities of her body would both contrast and harmonize beautifully with the qualities of the dead logs and living plants of the forest. The cyclic character of natural forces would be clearly evident.The light was just right, everything was spatially balanced; the relationships between events – the young child, the new forest covering, the prehistoric trees, the rotting logs – were strong and exciting. Everything went together perfectly. I didn’t have to analyze anything. I just recognized what was in front of me. All I had to do was set up and take the picture.

~ Wynn Bullock

"If still images had embedded sound tracks, while observing this image we might hear hooper swans, plaintively calling out for their breakfast, embracing the chilly early morning stillness of Kussharo Lake, and preparing for the day ahead. The dawn mist has just cleared, distant mountains have become visible, snow still clings to the tree branches, and I am doing what I love to do, walking, observing, exploring, photographing, and welcoming another delicious Hokkaido experience."

 

~ Michael Kenna

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"If there's one theme that connects all my work, I think it's that of landlessness; how land makes people into who they are and what happens to them when they lose it and thus lose their identities"

 

~ Larry Towell

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“He was not bone and feather but a perfect idea of freedom and flight, limited by nothing at all”

~ Richard Bach
(Jonathan Livingston Seagull)

“The Garden in Micanopy belongs to a former pine farm turned mansion dating back to the 1840s. While working on my Floridas project, I arrived at the estate late in the evening to check into my rental room. It was pitch black outside; loud cicadas overpowered the sound of my car motor. Despite the tranquil setting, I couldn’t sleep all night due to the old house noises. Quite exhausted in the early morning, I was greeted by this serene yet somewhat ghostly scene. It reminded me of Victorian fairy pictures.”

~ Anastasia Samoylova

"Perhaps the secret to being a productive photographer is just about showing up - being in the right place at the right time to record and/or interpret the miraculous beauty of our world. I have frequently visited and photographed around Kussharo Lake, more than most places in Japan. Set high up in the North East of Hokkaido, there is something alluring, attractive and mysterious about the place that consistently calls me back. No matter how many times I walk along its banks, the view is never the same, it changes and recharges every minute to reveal a continual stream of astonishingly beautiful new treasures and delights. On this particularly cold morning, the frozen ice combined with the natural hot spring water to produce clouds of white mist which rose behind black, inky trees. I was there at one of many “right" times and I knew that it would been very difficult to make a poor photograph. Having frequently returned to this location since, I have found, to my great satisfaction, there have been many other “right” times.."

 

~ Michael Kenna

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"I think of being out in the landscape as a time to harvest observations - then in the darkroom is the time where the observation finds its voice, its landing space in its physical manifestation"

 

~ Jeffrey Conley

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“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country”

 

~ Michael Kenna

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“At the moment of shooting (composition) can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move……. It very rarely happens that a photograph which was feebly composed can be saved by reconstruction of its composition under the darkroom’s enlarger. The integrity of the vision is no longer there”

 

~ Henri Cartier-Bresson
(1908 - 2004)

“I feel that being a photographer is simply the logical endpoint for being someone who has a certain type of ability to observe. As a child, I noticed all sorts of things - some might say I was easily distracted, but really it was my early and formative time of refining my vision. I can’t stress enough how important observation is as the foundational component of being a photographer. It is all about noticing things; light, texture, form, the confluence of these elements within infinite combinations.”

 

~ Jeffrey Conley

“The great French photographer, Eugene Atget, spent many years photographing the gardens in and around Paris designed by the landscape architect André Le Nôtre in the 17th century. Early in my career, I followed in the footsteps of Atget to see where and how he photographed. I explored the formal estates of Versailles, Saint Cloud, Sceaux, Vaux-le-Vicomte and the Tuileries, amongst others, before finding Marly-le-Roi. Pools of water, fountains, rows of topiaried hedges and perspective illusions were the hallmark of Le Nôtre. This photograph, albeit maybe designed long after Le Nôtre, typifies an aspect of his landscapes - the unexpected. Through a forest of trees a circle appears, for no apparent reason. I’ve long felt that questions were far more interesting than answers. and this circle continues to intrigue me. Someday, I may find out what it is or what it is used for. Or maybe I won’t.”

 

~ Michael Kenna

“In my many years of photographing the landscape and prehistoric stones of Ireland, I had come to realize that the life of the place generated a quiet magic. During my photography, there was usually a herd of white deer. They were randomly roving on the grounds on an estate and so I asked permission of the owner and set myself to the task of how to photograph them. Catching them in small groups was unsatisfying but I remembered the talent of the Irish sheepdog and enlisted the help of the owner and his dog to corral a substantial number of these white beasts. I visualized the deer as being spread out before the trees of the estate and set about the choreography of the event. Some 25 or so of these deer were collected at one end of a long field and at my signal the dog was to chase them in my direction. My camera was set up so as to include on my ground glass the grass field as foreground and the trees and background with myself hidden in the tress so as not to be seen.Not knowing what to expect I signaled and to my delight and surprise one of the deer took the lead and the others followed one behind the other. In the subdued light of the day my calculated exposure required the widest lens, aperture and a slow shutter speed of I second. I did not know and could not know what impression would appear on my film but to my delight on processing the film I found a beautifully impressionist feel made by the running white deer. As to capturing something magical, I knew that to be the case when two white swans flew directly over my head and camera moments after releasing the shutter of the lens.”

 

~ Paul Caponigro

“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country”

~ Michael Kenna

“Photography is a medium, a language, through which I might come to experience directly, live more closely with, the interaction between myself and nature.”

 

– Paul Caponigro

"Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of planes, spheres, nuclei, entirely without meaning. It would be perfect, but it is always still. The next step in sculpture is motion."

 

~ Alexander Calder

“I feel that being a photographer is simply the logical endpoint for being someone who has a certain type of ability to observe. As a child, I noticed all sorts of things - some might say I was easily distracted, but really it was my early and formative time of refining my vision. I can’t stress enough how important observation is as the foundational component of being a photographer. It is all about noticing things; light, texture, form, the confluence of these elements within infinite combinations.”

 

~ Jeffrey Conley

“Photography is for me a kind of meditation which widens my perception of the existing and evolving world around us. I seek refuge and simplicity in my photographs; and I find in it a personal accomplishment that I sincerely hope others too can feel.”

 

~ Jeffrey Conley

“I wait for photographs like a pointer dog. It is a question of luck and circumstance. I prefer winter, the worse the weather, the better the photograph will be."

 

~ Pentti Sammallahti

'In viewing the images in Devotion and at Peter Fetterman Gallery, I can only conclude that if, as the saying goes, “Beauty is in the eye of the beholder.,” then I’d revise that to say “Beauty is in the eye of Steve McCurry.'

 

~ Tom Teicholz

"Known as the land of fire and ice, Iceland is a place of contrasts. The landscape often feels simultaneously vast, intimate, stark, and delicate. There is something in the distinctive wide-open spaces, combined with ever-changing light and weather conditions, that reveals the implicit grace of the austere topography. It is a special place to witness. In this photograph, land, sky, and water are delineated elements that coalesce in a way that’s unique to the region. It represents a calming experience and memory and I very much look forward to returning."

 

~ Jeffrey Conley

"Don Hong-Oai's photographs portray a deep inner world where imagination thrives and dreams are created. His masterful craftsmanship creates a reality where anything is possible."

 

~ Michael Kenna

"I was lucky to discover a group of pine trees in 2007, while photographing watchtowers on the east coast beaches of Gangwando. When I first saw this copse, the trees were dramatic and dark, set against grey, ominous clouds. I photographed them at dusk, until it started to rain, and then drove off to visit a Buddhist temple many miles away. I was unaware that these trees were imminently at risk to be cut down and replaced with a liquified natural gas industrial development. Fortunately, an environmental movement was set up to fight against the destruction of the trees and it succeeded in preserving them. I was very happy to later learn that my photograph was used as part of their campaign. The LNG plant was eventually built, but it was put underground and the trees survive to this day. I have revisited this location many times since and intend to continue photographing these beautiful trees."

 

~ Michael Kenna

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"For me color is not the most important part of the picture. For me it is the story. It’s the emotional content in the picture"

 

~ Steve McCurry

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“The most valuable things in a life are a man’s memories. And they are priceless”

 

~ Andre Kertész

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“We had no idea about what we would find because it was the first time in my life that I would photograph landscapes and animals. Until then, I had only photographed one animal species in my career: the human being. So, it was an exceptional challenge”

 

~ Sebastião Salgado

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“This photograph of sand, sea and sky was made one early, cloudy morning on a beach in Calais, France. The exposure was probably about twenty minutes, judging by the movement of water and clouds. Over the years, my vision has been influenced by countless other photographers and I have often viewed my subject matter from the privileged shoulders of giants. I have long admired Hiroshi Sugimoto’s time exposure photographs of seafronts and theater screens. Even while making this image, I knew that it was heavily inspired by Sugimoto’s work. In Japanese, “Arigato" means “Thank you”, and “San" is an honorific word used after somebody’s name as a token of respect and esteem. Hence, Thank you Mr. Sugimoto!”

 

~ Michael Kenna 

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“When I take pictures, I let reality decide what to do. I only take one when I’m deeply moved by what I see”

 

~ Louis Stettner (1922-2016)

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“Photography is nothing. It’s life that interests me"

 

~ Henri Cartier-Bresson

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“Photography is much more than just taking pictures – it is a way of life. What you feel, what you want to express, is your ideology and your ethics. It’s a language that allows you to travel over the wave of history.”

 

~ Sebastião Salgado

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"A good picture knows how to communicate the emotion that created it."

 

~ Willy Ronis
( 1910 - 2009 )

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"San Francisco is still a magical city. If I were a little tougher, I'd put aside that sentimental romanticism. But the city is the people, and that's what persists. Maybe it's a sickness we all have, but we keep attempting to recreate a lot of what attracted us here in the first place."

 

~ Fred Lyon 

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"Working initially in Japan and then further afield in Asia reaffirmed for me what many artists, such as Albers, Brandt and Rothko, had already taught me: it is not necessary, or even desirable, to fill a rectangle with details. This “empty” white field of snow, shaded from grey to white, invites me, and I hope other viewers, to wander into its open expanse, leaving our tracks behind, before gazing into the distance where a magical mountain appears, floating on the horizon, almost as a mirage. On the right, black trees mark the edge of a forest, suggesting a whole other point of departure. Photography records and describes, but also interprets and invites. As the world continues to spin faster and faster, providing endless distractions, I increasingly prefer to spend time away from crowds, buildings, noise and screens, out in nature. If that is not possible, I can at least look at artworks made in these places and perhaps almost get lost in my own imagination.”

 

~ Michael Kenna

“I often see the materials of photography as being a type of terrain and I construct a landscape that I need to first explore in my mind’s eye if I am to make it manifest as an artful image in silver”

~ Paul Caponigro

 

"Come away, O human child to the waters and the wild. With a faery, hand in hand, for the world's more full of weeping than you can understand."

 

~ W. B. Yeates (The Stolen Child)

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“If I take a picture I have to account for it. I have opened something to someone’s reality”

 

~ Bruce Davidson 

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“I arrived at this location from London and had only a couple of days due to the low budget. One thing I tried to do when I arrived somewhere was to get a local map and drive to a hill or vantage point to get a sense of the place. When I got to the top I saw the view over the old pottery kilns and the man with a dog. As a newspaper photographer that I then was I always had my long lens on a camera, loaded and ready, so I was able to grab it and get this shot before he walked off"

 

~ John Bulmer

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“Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.”

 

~ Oscar Wilde

"This photograph, “First Light, Oregon, 2020”, was made at a small lake in the mountains of central Oregon on a crisp late summer morning. It’s a place I go back to over and over again. Every day seems to have new secrets to reveal. I enjoy sleeping close to the water’s edge and waking very early to revel in the wonderful peace. There is something captivating to me about the way the mist gathers and rises at dawn. I find it mesmerizing."

 

~ Jeffrey Conley

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“Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space. I know of no sculpture, painting, or music that exceeds the compelling spiritual command of the soaring shape of granite cliff and dome, of patina of light on rock and forest, and of the thunder and whispering of the falling, flowing waters.”

 

~ Ansel Adams
(1902-1984)

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"My artistic eye is black and white. I'm used to seeing and visualizing in black and white and have only one way of taking pictures."

 

~ Gianni Berengo Gardin

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“It is difficult to conceive of a substance more impressively brilliant than the spurting plumes of white waters in sunlight against a deep blue sky”

 

~ Ansel Adams
(1902-1984)

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"I shoot film. I don’t think I could do work that I really believe in with the feel and the look that I want if I was shooting digitally. There’s a certain resistance that I’ve got. But the light coming through a 6×7 Pentax lens hitting on film, is something digital can’t duplicate—and I love the look of it."

 

~ Kurt Markus

(1947-2022)

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“Photography is space, light, texture of course but the really important element is time - that nano second when the image organizes itself on the ground glass”

 

~ Ezra Stoller

 

"Fallingwater is a great blessing - one of the great blessings to be experienced here on earth, I think nothing yet ever equalled the coordination, sympathetic expression of the great principle of repose where forest and stream and rock and all the elements of structure are combined so quietly that really you listen not to any noise whatsoever although the music of the stream is there. But you listen to Fallingwater the way you listen to the quiet of the country..."

~ Frank Lloyd Wright

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"This delicate tree, sitting quietly and improbably in the cold waters of Wanaka Lake, is possibly one of the most photographed trees in New Zealand. I have had the great pleasure to visit it several times, and have usually waited in line behind bus loads of visiting tourists before being able to say hello. On this early pre-dawn morning, however, I was delighted to find myself alone, until I discovered some unexpected company in the form of birds, contentedly sleeping on the tree’s branches. My usual M.O. is to make long time exposures so that clouds and water transform into timeless and enigmatic mists. As the emerging light slowly began to appear, I made several such exposures, aware that both the branches and birds were moving. I was waiting for the birds to leave, before I could make what I considered to be a classical Kenna image, which I later printed and titled 'Wanaka Lake Tree, Study 1'.

Several years passed and I was asked by the publisher Atelier Xavier Barral to participate in a series of books they were publishing on birds, 'Les Oiseaux'. I went through my negative files and discovered many unprinted negatives in which birds were depicted, including this image which I subsequently titled 'Wanaka Lake Tree, Study 2’.

I have long felt that aesthetic decisions should never be dogmatic, and should always be challenged and doubted. At the time I made the photographs, I was convinced that the tree 'sans oiseaux" was the stronger image. Now I am less sure. Time has a way of playing with one’s emotions and sensibilities.
Our views sometimes change, precisely because we are alive and changeable, which I find immensely reassuring!"

 

~ Michael Kenna

“Nothing is ever the same twice because everything is always gone forever, and yet each moment has infinite photographic possibilities.”

~ Michael Kenna

"I traveled the world, when it was a different time. I have been from A to Z, from Alaska to Zanzibar, Mongolia, you name it. It’s outstanding to think how much the world has changed in my lifetime, isn’t it?"

~ Sheila Metzner

“Driving alone in Hokkaido in 2002, I was startled to see this attractive fence, climbing a snow-covered hillside. I stopped the car by the side of the road and made photographs of the fence and hillside. Later I would need a truck driver to tow me out of the field of snow where I had inadvertently parked, but that’s another story. Almost every year I have returned to Hokkaido and have photographed this same fence and hillside. I was there just a few months ago in February of this year 2023. One might think that little would change in such a scene - it is just a fence and a hill after all. Yet, each time I revisit, I find that something is different - a new pattern and configuration might appear, an arrangement of forms could change, distant contacts or lengthens to become ambiguous, perspectives alter, snow levels vary, and the light is never the same. The minimalism and sheer simplicity transform three dimensions into two, and the space elements involved seem to make the print more like a Sumi-e ink painting than a photograph. So far, I have made and printed eight studies of this fence, and I fully anticipate a new study form this years’s visit. This location is a gift which keeps giving.”

~ Michael Kenna

"The camera for an artist is just another tool. It is no more mechanical than a violin if you analyze it. Beyond the rudiments, it is up to the artist to create art, not the camera.”

 

~ Brett Weston

"I have entered into an unspoken, unwritten and generally inscrutable pact with the people I have photographed and lived among: if I promise not to tell all I know about them, they will do the same for me."

~ Kurt Markus
(1947-2022)

“What I want is to suggest rather than really show, I like my images to be little seeds sown in people's heads and for them to blossom in everyone's head.”

 

~ Patrick Taberna

“Photography teaches us to see, and we can see whatever we wish. When I take a photograph, I make a wish. I was always looking for beauty.”

 

~ George Tice

“I believe only in the rectangle. Filling that rectangle with a photograph remains the most challenging thing you can do. If you have to go outside of it, bringing in other non-photographic things to put inside, you run the risk of gimmickry. For me, the most powerful expression is the simplest.”

~ Kurt Markus

“When our paths crossed I found the man who taught me happiness”

 

~ Robert Doisneau

“I seek refuge and simplicity in my photographs and find a personal resolution and fulfillment that I sincerely hope others experience as well.”

 

~ Jeffrey Conley

“From the city of Kyoto Japan, a tram may be taken to ascend the nearby mountain where temples, shrines and sand gardens nestle in among the shifting fog so prevalent at that altitude. With my camera, I moved as quietly as the fog itself and came upon a place where a temple structure and a large dark tree appeared as if bathing themselves in the mysterious mountain atmosphere. The quiet of the place and the dignity of the structures and tree created a sense of sanctity and inspired awe within this magical space. I believe that my photograph captured the beauty and peacefulness that was seldom encountered in the city’s bustle below.”

 

~ Paul Caponigro

"You never go out with your camera and come back saying I wish I hadn't done that"

 

~ Cig Harvey

“Everything inside the frame is equally important”

 

~ Pentti Sammallahti

“Humble's impres­sive output of colour photographs does for LA by day what Brassai did for Paris by night. Despite their geographic specificity, though, what makes Humble's pictures intriguing isn't the way they create a sense of place about the city, but how they capture its sense of dislocation. ”

 

~ Carmine Iannaccone