I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique.

We had many books and pictures... my parents' way of life doubtless left a lasting impression on me. They created an atmosphere in which a certain kind of freedom could exist. This may well account for my seeking a related sense of liberty as I grew up.

If you can imagine photography in the guise of a woman and you’d ask her what she thought of Stieglitz, she’d say: He always treated me like a gentleman.

The scene fascinated me: a round straw hat; the funnel leaning left, the stairway leaning right; the white drawbridge, its railings made of chain; white suspenders crossed on the back of a man below; circular iron machinery; a mast that cut into the sky, completing a triangle.

If you place the imperfect next to the perfect, people will see the difference between the one and the other. But if you offer the imperfect alone, people are only too apt to be satisfied by it.

For that is the power of the camera: seize the familiar and give it new meanings, a special significance by the mark of a personality.

In photography there is a reality so subtle that it becomes more real than reality.