Garry Winogrand Quotes
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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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All things are photographable.
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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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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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What I know bores me.
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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'm surviving. I'm a survivor.
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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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Photography is not about the thing photographed. It is about how that thing looks photographed.
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I sometimes think I'm a mechanic. I just take pictures.
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I have to photograph where I am.
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At times people in the press were also useful to me.
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Cameras intrigued 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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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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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'm a photographer, a still photographer. That's it.
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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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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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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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The primary problem is to learn to be your own toughest critic. You have to pay attention to intelligent work, and to work at the same time. You see. I mean, you’ve got to bounce off better work. It’s matter of working.
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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.