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I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.
Garry Winogrand -
A photograph can look anyway. It just depends basically on what you photograph.
Garry Winogrand
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I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.
Garry Winogrand -
Cameras intrigued me.
Garry Winogrand -
Let's say that what's out there is a narrative. Often enough, the picture plays with the question of what actually is happening. Almost the way puns function.
Garry Winogrand -
Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
Garry Winogrand -
There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
Garry Winogrand -
It was interesting; it's an interesting photographic problem [those demonstrations in the late Sixties]. But if I was doing it as a job, I think I'd have to get paid extra.
Garry Winogrand
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I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.
Garry Winogrand -
Actually, the animal pictures came about in a funny way.
Garry Winogrand -
There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.
Garry Winogrand -
It's the easiest thing in the world to do that, to make successful photographs. It's a bore.
Garry Winogrand -
Sometimes photographers mistake emotion for what makes a great street photograph.
Garry Winogrand -
The photo is a thing in itself. And that's what still photography is all about.
Garry Winogrand
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There've been times it's been just impossible to find a negative or whatever. But I'm basically just a one man operation, and so things get messed up. I don't have a filing system that's worth very much.
Garry Winogrand -
A photograph can look any way.
Garry Winogrand -
I photograph to see what the world looks like in photographs.
Garry Winogrand -
I photograph what interests me. I'm not saying anything different.
Garry Winogrand -
I'm talking about technical goofs. I'm pretty much on top of it. The kind of picture you're referring to would have to be more about the effects of technical things, technical phenomena, and I'm just not interested in that kind of work at all.
Garry Winogrand -
I felt that from my end, I should deal with the thing itself, which is the event. I pretty much functioned like the media itself.
Garry Winogrand
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I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!
Garry Winogrand -
I don't know if I'm really the fastest. It doesn't matter.
Garry Winogrand -
The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.
Garry Winogrand -
I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.
Garry Winogrand