"A small object in a large context often expresses the theme of a photograph more clearly than a single object that fills the frame. . . . [Imagine a] rural Quebec winter scene. . . . The effect of the photograph depends on keeping the centre of interest small and filling most of the picture area with large expanses of white space. [snow, here] Also, because the [large] foreground fence and the background line [of a small, distant fence running from center rear of the image over to the upper right edge of the image] do not join within the picture, but seem likely to meet eventually, movement is implied. The suggestion of movement is reinforced by the location and direction of the horse and sleigh. [on the left upper 1/3 of the image about 1/3 in, facing toward the farthest right edge of the upper fence] No other placement would be as effective."
p. 21
"When we see a situation we want to photograph, . . . ask some basic questions. [(ii)] What is the subject matter? Fallen leaves on the threshold, a swinging door, peeling paint. [(i)] What is the theme or subject? Abandonment, loneliness, a little sadness. [(iii)] How does the subject matter express the subject? Through muted tones caused by soft, indirect lighting, through the limited presence of colour, through the symbolic power of autumn leaves and old, decaying wood. Try asking these questions. . . . "
p. 22
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