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.

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.

I've been asked a great deal about the influence I've had with my work and it's impossible to say, you know.

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.

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.

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.