Garry Winogrand Quotes
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Sometimes I feel like . . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.
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I certainly never wanted to be a photographer to bore myself. It's no fun - life is too short.
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I'm a New Yorker. Matter of fact, the more I'm in places like Texas and California, the more I know I'm a New Yorker. I have no confusions. About that.
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I enjoyed it [commercial work] until I stopped. You could travel and get around. I can't really explain why, I just didn't want to do it anymore.
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I don't know how to say easily what I learned. One thing I can say I learned is how amazing photography could be.
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There are photographers whose shows I try to make it my business to see, if I'm in the city. There are photographers I have no interest in at all.
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Every photograph could be set up. If one could imagine it, one could set it up. The whole discussion is a way of not talking about photographs.
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I have no expectations. None at all.
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I have boxes of pictures that nothing is ever going to happen to. Even Public Relations. I mean, I was going to events long before, and I still am.
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Just think how minimal somebody's family album is. But you start looking at one of them, and the word everybody will use is "charming." Something just happened. It's automatic, just operating a camera intelligently.
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All I'm doing is photographing. When I was working on The Animals, I was working on a lot of other things too. I kept going to the zoo because things were going on in certain pictures. It wasn't a project.
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In the simplest sentence, I photograph to find out what something will look like photographed. Basically, that's why I photograph, in the simplest language. That's the beginning of it and then we get to play the games.
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You've got a lot going for you, you see. By just describing well with it, something happens.
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It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.
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I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.
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I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
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Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.
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Two people could look at the same flowers and feel differently about them. Why not? I'm not making ads. I couldn't care less.
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If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.
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Tod or Hank Wessel, Bill Dane, Paul McConough, Steve Shore. Robert Adams, for sure. I'm ready to see what they do.There's a lot of people working reasonably intelligently.
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There is nothing as mysterious as a fact clearly described. I photograph to see what something will look like photographed.
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I photograph to find out what something will look like photographed.
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There are things I back off from trying to talk about, you know. Particularly my own work. Also, there may be things better left unsaid. At times I'd much rather talk about other (people's) work.
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I may very well move in. I just don't know. I can't sit here and know what pictures I'm going to take.