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p 194 From 1962 to 1970 Diane kept returning to the Cormel's cramped apartment until she finally captured the image she wanted - certainly one of her most memorable - in which giant and parents confront one another.

At one point she excitedly phoned Joseph Mitchell at the New Yorker. "You know how every mother has nightmares when she's pregnant that her baby will be born a monster? I think I got that in the mother's face as she glares up at Eddie, thinking, 'OH MY GOD, NO!'."

p 22 ... [when you're growing up] "you operate on little hints like that because that's all you have to go on and in a way you construct the world on these terribly minimal bits of evidence. Which may not be far from wrong"

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p 231 ... seeing is a process of learning, and the main point is that you have to care passionately about your subject matter or forget it.

- every photographer sees differently ("some are instinctive, some are just strong")

(Lisette Model)

p 234 "The art of our necessities is strange that it can make vile things precious." (King Lear)

p 248 "I work from awkwardness," Diane said. "Whereas Dick Avedon works from grace. By that I mean if I stand in front of something instead of arranging it, I arrange myself ... it's important to take bad pictures - it's the bad ones that have to do with what you've never done before ... sometimes looking into a camera frame is like looking into a kaleidoscope and you shake it and sometimes it won't shake out ... I'm not virtuous ... I can't do anything I want. In fact, I can't seem to do anything that