Garry Winogrand Quotes
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The photo is a thing in itself. And that's what still photography is all about.
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Everybody's entitled to their own experience.
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I have a good friend who's a very good printer. And he does a certain amount of printing for me. I do all the developing. If somebody's going to goof my film, I'd better do it. I don't want to get that mad at anybody else.
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People are going to have a good time, you know. One can go have a good time at these big openings in museums. And people go to have a good time. But the thing has another purpose.In the case of museums, it's always got to do with money, people who donate and things like that. And I believe a certain kind of interest has to be demonstrated.
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I still don't understand why when you put a piece of paper in a tray with solution in it, it comes up. It's still, in a sense, magic to me. It's a funny thing, you know. I've got two kids, and when they were very young, they used to come in the darkroom and I thought they'd be astounded by that. Nothing. When they got a little older, then they got astounded by it.
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The camera's dumb, it don't [sic] care who's pushing the button. It doesn't know.
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There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.
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If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.
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What I know bores me.
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The only thing that happens when I'm teaching is that I hope there are some students out there in the class who will ask questions.
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There is a transformation, you see, when you just put four edges around it. That changes it. A new world is created.
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There is no special way a photograph should look.
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Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.
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I don't think anything happens without the press, one way or the other. I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.
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Most photographs are of life, what goes on in the world. And that's boring, generally. Life is banal, you know. Let's say that an artist deals with banality. I don't care what the discipline is.
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[Me book is] called Stock Photographs. It was done at the Fort Worth livestock show and rodeo. I was commissioned to shoot there by the Fort Worth Art Museum for a show. I probably shot a total of fourteen days, give or take.
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Photos have no narrative content. They only describe light on surface.
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Sometimes photographers mistake emotion for what makes a great street photograph.
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What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
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Great photography is always on the edge of failure.
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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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Photography is not about the thing photographed. It is about how that thing looks photographed.
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Every photograph is a battle of form versus content.
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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.