Garry Winogrand Quotes
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Photography is not about the thing photographed. It is about how that thing looks 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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I sometimes think I'm a mechanic. I just take pictures.
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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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You've got to deal with how photographs look, what's there, not how they're made.
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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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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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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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At times people in the press were also useful to me.
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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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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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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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A photograph can look any way.
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I have a burning desire to see what things look like photographed by me.
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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.
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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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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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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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Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good
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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
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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.