If it's a likeness, alone, it's not a success. If, through my portraits, you can come to know the subjects more meaningfully, if it synthesizes your feelings toward someone whose work has imprinted itself on your mind--if you see a photograph and say, 'Yes, this is the person,' with a little new insight--that is a beautiful experience.

If there is a single quality that is shared by all great men, it is vanity. But I mean by vanity only that they appreciate their own worth. Without this kind of vanity they would not be great. And with vanity alone, of course, a man is nothing.

It should be the aim of every photographer to make a single exposure that shows everything about the subject. I have been told that my portrait of Churchill is an example of this.

I try to photograph people's spirits and thoughts. As to the soul-taking by the photographer, I don't feel I take away, but rather that the sitter and I give to each other. It becomes an act of mutual participation.

There is a brief moment when all there is in a man's mind and soul and spirit is reflected through his eyes, his hands, his attitude. This is the moment to record

The trouble with photographing beautiful women is that you never get into the dark room until after they've gone.

Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.