A Quote by Bruce Pavitt
I had no real photography experience, thankfully. I consciously took a lot of crowd shots. I was influenced by Seattle photographer Charles Peterson, who always seemed to incorporate fans in his live band shots.
Quote Topics
Quote Author
Related Quotes
I think [Otto Porter Junior] just took a couple tough shots so far - a couple tough jump shots - but I think he has a great mid-range game, he's very tall and can create his shot. So, I think with more spacing he'll get easier shots, I think he'll be fine.
You don't have to hit perfect shots all the time here. The variety of shots you get to play, the shots you sometimes have to hit along the ground, it's just a lot of fun to me.
For those aspiring to make a living from travel photography, it's a sad fact that the boring shots are the shots that are going to make you money.
I've been feeling really comfortable on clay because I have more time to set up my forehand. I can use a lot of different shots - drop shots and high balls. You can mix up a lot of shots, so it's actually more fun to play on clay.
If I'm blocking shots or changing shots or even preventing players from taking shots, I'm helping the team and we are likely to win when our defense is playing well.
I shoot a lot of bank shots and a lot of shots around the perimeter. There's a lot of things I like to work on, but I know my bread and butter when it comes down to it, and that's in the post.
I build confidence when I practice a variety of shots - hitting it high or low, working the ball. A lot of golfers go to the range and just hit full shots. That doesn't build on-course confidence, because you won't always hit full shots out there. My confidence is built on knowing I can effectively work the ball in any circumstance.
The crowd gives us so much energy and we are able to really feed off of it. Hitting those shots and having the crowd go crazy helps boost our confidence. We love our fans.
With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!
I try to do a good job of contesting shots and blocking shots and altering shots, but I've got to do a better job of doing more.
I wouldn't have the experience or the confidence to go on 'AGT' without being on 'Little Big Shots' because doing 'Little Big Shots' was really fun, but it was also really good practice for my appearance on 'AGT,' and it was just a great, awesome experience that I will remember always.
When I was working with Robert Frank, he told me that there was absolutely no relationship between cinema and photography. I challenge that. Surely what you know as a photographer must impact how you set up your shots.
Antonio Inoki majored in strong style. He showed real emotion with real technique in the ring. Hard shots that look like hard shots. But the important steps is the real technique from the real martial arts. It means detail is important.
I believe that good defense embodies seven cardinal principle: reduce the number of your opponent's shots; force your opponent into low percentage shots; control everything within 18 feet; eliminate second shots; no easy baskets; point the ball on all long shots; and prevent the ball from going into the pivot man.
When you're playing spot minutes, it's harder to hit those shots. But if you're getting volume shots, now it's a lot easier to get a rhythm.
A lot of tournaments that I can remember I made a few bad shots and I was afraid I would lose the tournament and it seemed to work, the putts seemed to go in. Just the Desire.
