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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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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Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.
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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'm living in Los Angeles for a couple of years. I've been a gypsy for quite a while. It'll come to an end. I'm going to come back to New York.
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All things are photographable.
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Cameras intrigued me.
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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 sometimes think I'm a mechanic. I just take pictures.
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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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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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The photograph should be more interesting or more beautiful than what was photographed
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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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There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.
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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 world isn't tidy; it's a mess. I don't try to make it neat.
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I'm talking about technical goofs. I'm pretty much on top of it. The kind of picture you're referring to would have to be more about the effects of technical things, technical phenomena, and I'm just not interested in that kind of work at all.
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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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I have to photograph where I am.
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The game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.
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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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I don't know if I'm really the fastest. It doesn't matter.
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When I’m photographing I see life.