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.

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.

Roosevelt's magic lay in one facet of his personality: He knew how to take the risk. No other man in public life I knew could so readily take the challenge of the new.

Man was born free, and he is everywhere in chains.

Photography is a major force in explaining man to man.

The world is... the natural setting of, and field for, all my thoughts and all my explicit perceptions. Truth does not inhabit only the inner man, or more accurately, there is no inner man, man is in the world, and only in the world does he know himself.

I am neither a child, a young man, nor an ancient; nor am I of any caste.

I want the municipality to be a helping hand to the man with a desire of sympathy, to help the fallen when it is not in their power to help themselves.

I always looked for a man to rescue me and bring me happiness. I bought into that myth, of course, and looked for my own Prince Charming.

A desire to be observed, considered, esteemed, praised, beloved, and admired by his fellows is one of the earliest as well as the keenest dispositions discovered in the heart of man.

Nonviolence is a powerful and just weapon. which cuts without wounding and ennobles the man who wields it. It is a sword that heals.

Let me first state that I believe that marriage is a sacred union between one man and one woman.

A man must be strong in that profession, he must have vigor of body and mind, yet I am all out of breath if I walk up a hill; I have not the heart to crush even a fly.

An intelligent man is sometimes forced to be drunk to spend time with his fools.

I believe that if a man does a job as well as a woman, he should be paid as much.

For a man to strike any women is most brutal, and I, as well as everyone else, think this far worse than any attempt to shoot, which, wicked as it is, is at least more comprehensible and more courageous.

There is always a type of man who says he loves his fellow men, and expects to make a living at it.

A man may be in as just possession of truth as of a city, and yet be forced to surrender.

The bravest sight in the world is to see a great man struggling against adversity.

If a man is dumb, someone is going to get the best of him, so why not you? If you don't, you're as dumb as he is.