An amateur is someone who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.

When a man returned from the field and we'd look at the work, we'd criticize each other very genuinely and never offensively. And we would avoid all tricks, angle shots were just horrible to us.

I remember traveling around in Arkansas with Senator Robinson, and I told him what this little trick was. He felt very much part of it and had me take pictures of people unbeknownst to them.

Now, my knowledge of photography was terribly limited.

When you talk about war on poverty it doesn't mean very much; but if you can show to some degree this sort of thing then you can show a great deal more of how people are living and a very great percentage of our people today.

I didn't care where my works were published.

I felt very strongly the whole social impact of that depression, you know, and I felt very strongly about the efforts that this Resettlement Administration was trying to accomplish; resettling people, helping them, and so on.

I became interested in photography when I found my own sketching was inadequate.

So, I was offered this job to come down there but first it was suggested that I take a trip around the country in the areas in which we worked to see what it's all about, and I tell you that was a revelation to me.

Roy was just another bureaucrat to me, but I realized very soon that without Roy this thing would have died.

Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.

Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.

I confess that Roy was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.

It's pretty hard to measure influence of written or visual material.

Of course I realize that photography is not the technical facility as much as it is the eye, and this decision that one makes for the moment at which you are going to snap, you know.

The time when I had desire to go to the United States I didn't have a penny. It was in the middle of the depression, you know. I couldn't get as far as Hoboken at that time.

I still love to look at photographs but I couldn't do it myself anymore.

I feel, having the choices I had, I felt I had more control over my own medium than I did over photography.

I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.

Whatever I get involved in, I'm totally involved, you see.

In '38, this time I did a job for Mr. Stryker. I went on his payroll at about half the salary I was getting before, to cover what he called Harvest in Ohio.

I was brought in, not in the photographic department at all, I was brought in on a thing called Special Skills. I was to do posters, pamphlets, murals, propaganda in general, you know.

In the South or in the mine country, wherever you point the camera there is a picture.

I've been asked a great deal about the influence I've had with my work and it's impossible to say, you know.

An amateur is someone who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.

I did take my camera along, as I felt there wouldn't be enough time to draw the things I wanted to do. I did some drawing and did a lot of photography but I was not part of Stryker's outfit at all.

I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.

It's a little bit like my inability to read a guide book before I go anywhere. I can read it after I've been there and by the same logic I refuse to accept any technical stunts from anybody. I refused to learn more than I knew and I confess I missed a great deal.

To abstract is to draw out the essence of a matter. To abstract in art is to separate certain fundamentals from irrelevant material which surrounds them.

Every great historic change has been based on nonconformity, has been bought either with the blood or with the reputation of nonconformists.

Paint what you are, paint what you believe, paint what you feel.

In 1975 I decided that there was no future in flying (airline jobs were impossible to get, and who wants a job where you are judged only by seniority?) and headed off to grad school.

In the middle of a recession no tax increase is justified because it kills jobs, and any tax increase is a job-killing measure and should be defeated.

I started going back and forth, New York, London, New York, London. I wasn't looking back at all. I was doing tons of jobs. Working, working, working, working.

We have stabilized our economy. We took over a very sick economy, and we were hemorrhaging 750,000 jobs a month. We have stopped the hemorrhaging. In fact, we had 140,000 job growth last month. And that's what I call progress.

We need to work together, on a bipartisan basis, to create new jobs, increase job training, enact real and substantive middle class tax relief, and reward companies that create jobs at home.

I think that obstacles lead to growth and ultimately, the most learning I've done in my life is between jobs.

I would certainly choose my jobs depending on the actions of the character. I won't do anything that has to do with child abuse or women's abuse.

Today, unless women gain jobs and athletic scholarships commensurate with their percentage of the population, feminists scream discrimination.

A great deal has been said about my commitment not to raise taxes. It's a core value - it's common sense - it's important to keeping and growing jobs - and it's mainstream!

But generally speaking, people weren't fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.

Investing in industries and technology for the 21st century generates high-skilled, high-wage jobs for industries of the future.

Government does not create jobs, it only creates the conditions that make jobs more or less likely.

Life with a scientist who is often changing jobs and is frequently away at meetings and on lecture tours is not easy. Without a secure home base, I could not have made much progress.

The stark reality facing us today is that without the labour reforms, workers will get neither the income nor jobs in the face of cut-throat global economic competition.

All my jobs have been with food in one way or another since 1948. My parents were in the hotel business, and I just loved the warm hearted people who worked so hard with such good humor.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

Then, of course, I played alto and tenor, wherever there were jobs.

You can make more money on unemployment than you can going down and getting one of those jobs that is an honest job, but it doesn't pay as much. And so, that's what's happened to us is that we have put in so much entitlement into our government, that we really have spoiled our citizenry and said you don't want the jobs that are available.