Garry Winogrand Quotes
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Photography is not about the thing photographed. It is about how that thing looks photographed.
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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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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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I sometimes think I'm a mechanic. I just take pictures.
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At times people in the press were also useful to me.
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When I was a kid in New York I used to go to the zoo. I always liked the zoo. I grew up within walking distance of the Bronx Zoo. And then when my first two children were young, I used to take them to the zoo. Zoos are always interesting. And I make pictures.
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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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You know, I really don't think you learn from teachers. You learn from work. I think what you learn, really, is how to be- you have to be your own toughest critic, and you only learn that from work, from seeing work.
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All things are photographable.
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I knew that was coming. That's another stupidity. The people who use the term don't even know the meaning. They use it to refer to photographs they believe are loosely organized, or casually made, whatever you want to call it. Whatever terms you like. The fact is, when they're talking about snapshots they're talking about the family album picture, which is one of the most precisely made photographs.
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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.
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I have to photograph where I am.
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There are people who are socially ambitious. If you go back aways, the Sculls, for instance, had a lot of money and they were socially ambitious. If you get an old master, it's not going to do you any good socially.
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Cameras intrigued me.
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You've got to deal with how photographs look, what's there, not how they're made.
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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.
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I have a burning desire to see what things look like photographed by me.
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I don't know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.
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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.
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I'm a photographer, a still photographer. That's it.
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What I know bores me.
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When the woman is attractive, is it an interesting picture, or is it the woman? I had a lot of headaches with that, which was why it was interesting. I don't think I always got it straight.
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I really try to divorce myself from any thought of possible use of this stuff. That's part of the discipline. My only purpose while I'm working is to try to make interesting photographs, and what to do with them is another act - an alter consideration. Certainly while I'm working, I want them to be as useless as possible.
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You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.