The photographer has almost as much control over his subject matter as a painter. He can control light and shade, form and space, pattern and texture, motion and mood, everything except composition.

What matters is not what you photograph, but why and how you photograph it. Even the most controversial subject, if depicted by a sensitive photographer with honesty, sympathy, and understanding, can be transformed into an emotionally rewarding experience.

(1) The more thoroughly a photographer explores his subject with the camera (i.e., the more pictures he makes), the more he sees and the better his chance of getting good results. (2) Even slight changes in subject approach can make significant differences in the effect of the picture.

A photographer who does not know how to translate his feelings and ideas into a graphically satisfactory form is bound to produce ineffective photographs, no matter how idealistic, compassionate, sensitive or imaginative he may be. For in order to be considered good, a photograph must not only say something worthwhile, it must say it well.

The difference in 'seeing' between the eye and the lens should make it obvious that a photographer who merely points his camera at an appealing subject and expects to get an appealing picture in return, may be headed for a disappointment.

Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.

Experience has shown that the more fascinating the subject, the less observant the photographer.