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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.
Garry Winogrand -
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.
Garry Winogrand
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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.
Garry Winogrand -
I have to photograph where I am.
Garry Winogrand -
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.
Garry Winogrand -
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.
Garry Winogrand -
I'm a photographer, a still photographer. That's it.
Garry Winogrand -
The photograph should be more interesting or more beautiful than what was photographed
Garry Winogrand
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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.
Garry Winogrand -
Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
Garry Winogrand -
I have a burning desire to see what things look like photographed by me.
Garry Winogrand -
I sometimes think I'm a mechanic. I just take pictures.
Garry Winogrand -
I think there's some stuff that's at least photographically interesting. There are things I back off from trying to talk about.
Garry Winogrand -
Everybody's entitled to their own experience.
Garry Winogrand
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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.
Garry Winogrand -
For me the true business of photography is to capture a bit of reality (whatever that is) on film...if, later, the reality means something to someone else, so much the better.
Garry Winogrand -
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.
Garry Winogrand -
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.
Garry Winogrand -
The game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.
Garry Winogrand -
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.
Garry Winogrand
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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.
Garry Winogrand -
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.
Garry Winogrand -
I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.
Garry Winogrand -
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.
Garry Winogrand