I am afraid there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify. — William Eggleston (via magnificentruin)
"The subject of these pictures is, then, a troubling mixture: buildings and roads that are often, but not always, unworthy of us; people who are, though they participate in urban chaos, admirable and deserving of our thought and care; light that sometimes still works an alchemy; a western scale that, despite our crowding, persists in long views.
If I hope the pictures show more than this, it is because I share the goal of most photographers. You may have sensed what that goal is if you have watched someone with a camera struggle for adequate results; over and over again he walks a few steps and peers, rather comically, into the camera; to the exasperation of family and friends, he inventories what seems an endless number of angles; he explains, if asked, that he is trying for effective composition, but he hesitates to define it. Edward Weston, a photographer who demonstrated he knew what it was, said simply that good composition was “the strongest way of seeing.” What he appears to have meant was that a photographer wants Form, an unarguably right relationship of shapes, a visual stability in which all components are equally important. The photographer hopes, in brief, to discover a tension so exact that it is peace.
Pictures that embody this calm are not synonymous, of course, with what we might see casually out a car window (they may, however, be more effective if we can be tricked into thinking so). The form the photographer records, though discovered in a split second of literal fact, is different because it implies an order beyond itself, a landscape into which all fragments, no matter how imperfect, fit perfectly.”