Top 78 Quotes & Sayings by Diane Arbus

Explore popular quotes and sayings by an American photographer Diane Arbus.
Last updated on April 14, 2025.
Diane Arbus

Diane Arbus was an American photographer. Arbus's imagery helped to normalize marginalized groups and highlight the importance of proper representation of all people. She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity." In his 2003 New York Times Magazine article, "Arbus Reconsidered," Arthur Lubow states, "She was fascinated by people who were visibly creating their own identities—cross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fans—and by those who were trapped in a uniform that no longer provided any security or comfort." Michael Kimmelman writes in his review of the exhibition Diane Arbus Revelations, that her work "transformed the art of photography ".

That is why people have jobs and pay checks... it helps keep you from unanswerable questions.
I am full of a sense of promise, like I often have: the feeling of always being at the beginning.
I hated painting, and I quit right after high school because I was continually told how terrific I was... it made me feel shaky. — © Diane Arbus
I hated painting, and I quit right after high school because I was continually told how terrific I was... it made me feel shaky.
A photograph is a secret about a secret. The more it tells you the less you know.
The world can only be grasped by action, not by contemplation. The hand is the cutting edge of the mind.
I never have taken a picture I've intended. They're always better or worse.
I work from awkwardness. By that I mean I don't like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself.
This photographing is really the business of stealing.
My favourite thing is to go where I've never been.
The thing that's important to know is that you never know. You're always sort of feeling your way.
I used to think consciousness itself was a virtue, so I tried to keep it all in my head at the same time: past, future, etc.
You see someone on the street, and essentially what you notice about them is the flaw.
I want to photograph the considerable ceremonies of our present. I want to gather them, like somebody's grandmother putting up preserves, because they will have been so beautiful.
Nothing is ever the same as they said it was. — © Diane Arbus
Nothing is ever the same as they said it was.
I think it does, a little, hurt to be photographed.
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.
Men are but children of a larger growth, Our appetites as apt to change as theirs, And full as craving too, and full as vain.
Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats.
Regardless of how you feel inside, always try to look like a winner. Even if you are behind, a sustained look of control and confidence can give you a mental edge that results in victory.
Love involves a peculiar unfathomable combination of understanding and misunderstanding.
When you grow up your mother says, 'Wear rubbers or you'll catch cold.' When you become an adult you discover that you have the right not to wear rubbers and to see if you catch cold or not. It's something like that.
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.
The more specific you are, the more general it'll be.
I really believe there are things nobody would see if I didn't photograph them.
There is so much work to working that there are moments, moments, where I stop and look around, and it seems too arduous to go on. It isn't, of course.
My favorite thing is to go where I've never been.
Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe. You see someone on the street and essentially what you notice about them is the flaw. It's just extraordinary that we should have been given these peculiarities. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.
For me, the subject of the picture is always more important than the picture.
...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.
One of the risks of appearing in public is the likelihood of being photographed.
Lately I've been struck with how I really love what you can't see in a photograph. An actual physical darkness. And it's very thrilling for me to see darkness again.
Ladies and Gentlemen, take my advice, pull down your pants and slide on the ice.
I think all families are creepy in a way.
It's always seemed to me that photography tends to deal with facts whereas film tends to deal with fiction.
We've all got an identity. You can't avoid it. It's what's left when you take everything else away.
I used to have this notion when I was a kid that the minute you said anything, it was no longer true. Of course it would have driven me crazy very rapidly if I hadn't dropped it, but there's something similar in what I'm trying to say. That once it's been done, you want to go someplace else. There's just some sense of straining.
The world is full of fictional characters looking for their stories
I mean, it's very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them. — © Diane Arbus
I mean, it's very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them.
What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own.
Nothing is ever the same as they said it was. It's what I've never seen before that I recognize.
Photography was a license to go wherever I wanted and to do what I wanted to do.
Take pictures of what you fear.
If I were just curious, it would be very hard to say to someone, I want to come to your house and have you talk to me and tell me the story of your life. I mean people are going to say, You're crazy. Plus they're going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that's a reasonable kind of attention to be paid.
Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.
Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe.
The camera is cruel, so I try to be as good as I can to make things even.
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.
I don't know what good composition is.... Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. There's a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness.
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.
I mean, if you've ever spoken to someone with two heads, you know they know something you don't. — © Diane Arbus
I mean, if you've ever spoken to someone with two heads, you know they know something you don't.
If I didn't have a camera, the things I do would be crazy.
It's important to take bad pictures. It's the bad ones that have to do with what you've never done before. They can make you recognize something you hadn't seen in a way that will make you recognize it when you see it again.
I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.
I think the most beautiful inventions are the ones you don't think of.
The Chinese have a theory that you pass through boredom into fascination and I think it's true. I would never choose a subject for what it means to me or what I think about it. You've just got to choose a subject - and what you feel about it, what it means, begins to unfold if you just plain choose a subject and do it enough.
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?
If you scrutinize reality closely enough, if in some way you really, really get to it, it becomes fantastic.
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.
There's a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle.
Shoot for the secrets, develop for the surprises
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