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We stand on a precipice, then before a chasm, and as we wait it becomes higher, wider, deeper, but I am crazy enough to think it doesn't matter which way we leap because when we leap we will have learned to fly. Is that blasphemy or faith?

Diane Arbus

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Diane Arbus
Age: 48 †
Born: 1923
Born: March 14
Died: 1971
Died: July 26
Fashion Photographer
Photographer
New York City
New York
Diane Nemerov
Diane Nemerov Arbus
Diane née Nemerov
Diane nee Nemerov
Waiting
Deeper
Faith
Wait
Doesn
Photography
Chasm
Matter
Higher
Chasms
Enough
Becomes
Precipice
Way
Learned
Blasphemy
Think
Crazy
Wider
Thinking
Stand
Leap

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For me, the subject of the picture is always more important than the picture.
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The camera is a kind of license.
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A photograph is a secret about a secret. The more it tells you the less you know.
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...I would never choose a subject for what it means to me. I choose a subject and then what I feel about it, what it means, begins to unfold.
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There are an awful lot of people in the world and it's going to be terribly hard to photograph all of them... It was my teacher Lisette Model who finally made it clear to me that the more specific you are, the more general it will be.
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You see someone on the street, and essentially what you notice about them is the flaw.
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The world can only be grasped by action, not by contemplation. The hand is the cutting edge of the mind.
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Take pictures of what you fear.
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One thing I would never photograph is a dog lying in the mud.
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I really believe there are things nobody would see if I didn't photograph them.
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It would be beautiful to photograph the winners of everything from Nobel to booby prize, clutching trophy, or money or certificate, solemn or smiling or tear stained or bloody, on the precarious pinnacle of the human landscape.
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One of the risks of appearing in public is the likelihood of being photographed.
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The camera is cruel, so I try to be as good as I can to make things even.
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I mean, if you've ever spoken to someone with two heads, you know they know something you don't.
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The thing that's important to know is that you never know. You're always sort of feeling your way.
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One thing that struck me early is that you don’t put into a photograph what’s going to come out. Or, vice versa, what comes out is not what you put in.
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Freaks was a thing I photographed a lot. It was one of the first things I photographed and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them. I don't quite mean they're my best friends but they made me feel a mixture of shame and awe.
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I always thought of photography as a naughty thing to do - that was one of my favorite things about it, and when I first did it, I felt very perverse.
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Everything is so superb and breathtaking. I am creeping forward on my belly like they do in war movies.
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There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.
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