The bench on /eyes says who to learn from. The capsules on /trips say where to go. These are the eight things in between — six properties of a frame and two ways of working, each with the light it wants and a day that practices it. Five of them argue with how I already see. That is deliberate.
Square-on, same distance, no favorites — including the dull ones.
I gave the boring wall the same care as the good one.
Expose for the light and let everything else fall to nothing.
I let most of the frame go, instead of rescuing it.
Flat, vacant, ordinary — chosen, not failed.
I shot the empty thing on purpose, not because nothing better turned up.
Give two-thirds of the frame to nothing, and let the nothing carry it.
The empty part is doing the work, not the subject.
Let the tilt be the subject, not the thing that happens to be tilted.
The angle is the picture; the object is incidental to it.
Shoot the gap, not the thing either side of it.
I came back with the interval rather than the span.
Shoot the set, not the hero. One frame proves nothing.
I came back with twenty, and no favorite among them.
Work one place past the first good frame, until it gives something up.
I stayed after I had the shot, and the later one was better.