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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I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.
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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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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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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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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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Photos have no narrative content. They only describe light on surface.
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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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There is no special way a photograph should look.
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Great photography is always on the edge of failure.
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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 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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Every photograph is a battle of form versus content.
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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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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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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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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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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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[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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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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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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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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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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The world isn't tidy; it's a mess. I don't try to make it neat.