Garry Winogrand Quotes
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The photograph should be more interesting or more beautiful than what was photographed
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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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Photography is not about the thing photographed. It is about how that thing looks photographed.
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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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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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Great photography is always on the edge of failure.
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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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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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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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You've got to deal with how photographs look, what's there, not how they're made.
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It's the easiest thing in the world to do that, to make successful photographs. It's a bore.
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All things are photographable.
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A photograph can look any way.
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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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I'm surviving. I'm a survivor.
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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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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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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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For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.
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When I’m photographing I see life.
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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 game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.
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If I ever hear "Power to the people" again, I'llà I just found out that John Lennon wrote that song, "All we are saying is give peace a chance." I couldn't believe it. I thought it was terrible; I hated that song. They used to bring out the Pete Seeger wind-up toy to sing it. Tiresome.
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I sometimes think I'm a mechanic. I just take pictures.