 I am not interested in shooting new things. I am interested to see things new. They're really wonderful, Ernst Haas. In today's modern world, so many photographers are trying to seek out the new. Look at places, you know, on Instagram, that 10 years ago, 20 years ago were, you know, out of the way places that barely nobody went to. Then one person found a, you know, great photograph there, and everybody then floods in to try and copy it. And what happens is they all end up with basically the same photograph. That's kind of cool. I like it, they're friends, and they go, hey, wow, that's amazing. But that means you have to constantly be seeking out new places, having to go further and further and further afield. Now, I don't know about you, but I don't have the wherewithal just to troop off to whatever is the latest and greatest amazing plays, just to create a photograph that, well, basically everybody else has done. So if we take a leaf from Ernst Haas' book to say that he wants to see things new, and everyday things. If you look at his photography, it is glorious. And if you're interested in seeing more of that, I've got a whole episode about Ernst Haas, which I'll link to at the end of this video, that there's a depth to it because he's showing us everyday things. Admittedly, to our eyes now they are older, because they're passed into history. But to him and the people who initially saw his photographs, they would be scenes that are immediately recognisable and completely, I don't want to say inane, because that's probably the wrong word, but they are everyday. They are mundane. That's probably a better way of putting it. There are scenes that a lot of us would not give a second thought to, especially today. Think about how many places on your daily routine, your commute, whatever, you just dismiss. You think that they're not worthy of photographs, because, well, who cares because it's a bus, or it's a train, or it's something that was a subway station. And you're missing a trick. You are absolutely missing a trick. It doesn't matter what kind of photography you are. If you are a landscape photographer, urban landscape, think about the city that, you know, those places. If you are a minimalist photographer, wow, there's so many options for you. It just goes on and on and on. So as soon as you start to open up to be available to the possibilities of seeing things, then those photographs are going to become far more remarkable because you are showing people things that they are familiar with in a way that surprises them. That's really the clue, the key to a really great photograph isn't a photograph that surprises people. It's like, wow, that's amazing. It doesn't have to be surprised like a jump scare kind of thing, but it wants to be something out of the ordinary. And especially in today's modern world, it is too easy to dismiss the spectacular, those great landscapes, you know, whatever, because quite frankly, they're not extraordinary anymore. We're kind of used to seeing those things. But we're not used to seeing the things that are right under our nose presented in a unique way. So I guess what we're driving at here is that, you know, you as a photographer should embrace the ordinary. You should dip your toe into the world of people like William Klein and William Megelson and all the other Williams that are there to find inspiration from those images, those places that are so easy to dismiss as not worthy of photographing. Try this weekend. See what happens. Can you make a commitment to photograph ordinary things in extraordinary ways? Remember that video I spoke to about earlier? Well, here it is. I know you're going to enjoy it. Thanks for watching. I'll see you again soon.