Garry Winogrand Quotes
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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 a burning desire to see what things look like photographed by me.
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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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Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
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I'll come back to New York. I think I'll start focusing in more on the entertainment business. I have been doing some of that already, all kinds of monkey business. But I'm all over the place, literally.
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The photo is a thing in itself. And that's what still photography is all about.
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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 think there's some stuff that's at least photographically interesting. There are things I back off from trying to talk about.
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I'm a photographer, a still photographer. That's it.
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I have to photograph where I am.
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I sometimes think I'm a mechanic. I just take pictures.
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Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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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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The photograph should be more interesting or more beautiful than what was photographed
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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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Everybody's entitled to their own experience.
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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 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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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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It was interesting; it's an interesting photographic problem [those demonstrations in the late Sixties]. But if I was doing it as a job, I think I'd have to get paid extra.
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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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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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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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The game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.