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.

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.

Examples one finds in the philosophical literature are somebody who's seen the trial of a child of theirs, where they're being proved guilty of some crime that would drive the parent into a depression, maybe a suicidal depression.

Although I was not aware of it at the time, the experience of growing up during the Great Depression was to have a profound impact on my intellectual and professional career.

We had a booming stock market in 1929 and then went into the world's greatest depression. We have a booming stock market in 1999. Will the bubble somehow burst, and then we enter depression? Well, some things are not different.

In a strange way, I had fallen in love with my depression.

When I was in Philadelphia during the Depression in 1930 or '31, I got a very sad job as a night watchman in a garage. The cars in the garage had been abandoned by their owners, since they had lost their jobs and couldn't keep up the payments.

It is so often true that whether a person carries with him an atmosphere of gloom and depression or one of confidence and courage depends on his individual outlook.

This is what I am. I have periods of enormous self-destructive depression, where I go completely off my trolley and lose all sight of reality and reason.

Coming down off crack is like the worst depression. The worst.

Because its hard to realize now that that was the end of the great depression, you know. All of a sudden all of this is in front of me and I'm solvent, you know. I'm making some money and I know where my next meal is coming from, and I have a new pair of shoes and that's it.

So people have been hurting and I understand that. And it doesn't give them comfort or solace for me to tell them, you know, but for me, we would be in a worldwide depression.

You largely constructed your depression. It wasn't given to you. Therefore, you can deconstruct it.

The Great War proved how confused the world is. Depression is proving it again.

Good humor is a tonic for mind and body. It is the best antidote for anxiety and depression. It is a business asset. It attracts and keeps friends. It lightens human burdens. It is the direct route to serenity and contentment.

But with the slow menace of a glacier, depression came on. No one had any measure of its progress; no one had any plan for stopping it. Everyone tried to get out of its way.

As far as I was concerned, the Depression was an ill wind that blew some good. If it hadn't occurred, my parents would have given me my college education. As it was, I had to scrabble for it.

I prize the Depression, for instance, because I learned the value of things in the Depression that a way people who don't have to worry about such things never learned to prize it really, I believe.

At a time when going to college has never been more important, it's never been more expensive, and our nation's families haven't been in this kind of financial duress since the great depression. And so what we have is just sort of a miraculous opportunity simply by stopping the subsidy to banks when we already have the risk of loans. We can plow those savings into our students. And we can make college dramatically more affordable, tens of billions of dollars over the next decade.

Depression is when you have lots of love, but no one's taking.