Thinking should be done before and after, not during photographing.

Photography must seize upon this moment and hold immobile the equilibrium of it. The photographers eye is perpetually evaluating. A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail — and it can be subordinated, or he can be tyrannized by it.

Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.

Of course it's all luck.

While we're working, we must be conscious of what we're doing.

This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition - an organic coordination of visual elements.

The picture is good or not from the moment it was caught in the camera.