In order for Liebling to document work in a slaughterhouse he had to actually go there, a trip few of us would relish taking. In photographs like these there is the power of an additional message: "I can show you this because I was there." The document becomes one of both the slaughterhouse and Liebling’s personal experience.

For Liebling, as for every major figure in photography, pictorial power arises from the desire to be with the world, not merely to record but to register the fact of one’s own presence, to project one’s self in the act of capturing a scene.

Jerome Liebling Photographs, 1982)