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.

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.

Pacifist propaganda and the resolutions of the parliamentarians encouraged such treaties, and toward the end of the nineteenth century their number had increased considerably.

The methods of peace propaganda which aim at establishing peace doctrine by argument and by creating a feeling favorable to peace in general seem to fall short of reaching the springs of human action and of dealing with the causes of the conduct which they seek to modify.

Nevertheless, this type of propaganda has a special value, for it serves to convince those who sign the appeal, of the necessity for carrying on propaganda; so a corps of propagandists, if I may use the term, is thus trained.

Propaganda is to a democracy what the bludgeon is to a totalitarian state.

Terrorism is in good part an effective government propaganda; it serves to deflect attention from governmental abuse toward a mostly imagined, highly dangerous outside enemy.

The Social-Democratic Federation took part in all the political and economic struggles of the English working class; it took pains to bring Socialist views home to them, not only through agitation and propaganda, but also by actions.

The reporting of news has to be understood as propaganda for commodities, and events by images.

We have to stop the propaganda, the shameful propaganda used by Kremlin to rehabilitate these old types.

Furthermore, it is not distorting history to say that it was largely through the efforts and propaganda of our International Federation that the government of the U.S.S.R. was recognized by the majority of the great powers.

It is claimed, but with what truth we cannot say, that there is a well-defined propaganda among the aliens of colour to bring about the degeneration of the white race.

Through clever and constant application of propaganda, people can be made to see paradise as hell, and also the other way round, to consider the most wretched sort of life as paradise.

Only the mob and the elite can be attracted by the momentum of totalitarianism itself. The masses have to be won by propaganda.

What practical conclusions may we now draw for our propaganda work among women? The task of this Party Congress must not be to issue detailed practical suggestions, but to draw up general directions for the proletarian women's movement.

Cases of sickness made up a very small percentage which in my opinion was normal. However, propaganda pamphlets dropped from aircraft were telling the workers to feign illness, and detailed instructions were given to them on how to do it.

Propaganda is a soft weapon; hold it in your hands too long, and it will move about like a snake, and strike the other way.

Why is propaganda so much more successful when it stirs up hatred than when it tries to stir up friendly feeling?

Propaganda in the ordinary sense of the term plays a less important part in a consumer society, where people greet all official pronouncements with suspicion.

Propaganda is that branch of the art of lying which consists in nearly deceiving your friends without quite deceiving your enemies.