Garry Winogrand Quotes
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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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Everybody's entitled to their own experience.
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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.
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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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Every photograph is a battle of form versus content.
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You just go through a certain kind of drudgery every time you have to look for something. I've got certain things grouped by now, but there's a drudgery in finding them. There's always stuff missing.
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There is no special way a photograph should look.
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A pun calls the meaning of a word into question, and it upsets us tremendously. We laugh because suddenly we find out we're not going to get killed. I think a lot of things work that way with photographs.
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You see something happening and you bang away at it. Either you get what you saw or you get something else--and whichever is better you print.
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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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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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The photo is a thing in itself. And that's what still photography is all about.
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Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.
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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.
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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 care how they think of it. Some of these people are acquiring some very good pictures by a lot of different photographers.
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Aside from the fact of just taking things out of context, I don't know why. That's part of a mystery. In a way, a transformation is a mystery to me. But there is a transformation, and that's fascinating.
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The world isn't tidy; it's a mess. I don't try to make it neat.
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When I’m photographing I see life.
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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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Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.
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Well, it was strange, because the phone rang and a teaching job turned up that sounded interesting. And I always did my own work. The Animals and a lot of Public Relations were done while I was doing commercial work.
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I'm surviving. I'm a survivor.
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There's no way a photograph has to look... in a sense. There are no formal rules of design that can apply.