For a subject to be strong enough to be worth photographing, the relationship of its forms must be rigorously established. Composition starts when you situate your camera in space in relation to the object. For me, photography is the exploration in reality of the rhythm of surfaces, lines, or values; the eye carves out its subject, and the camera has only to do its work. That work is simply to print the eye’s decision on film.

on composition. "American Photo", September/October 1997, page: 76

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