Garry Winogrand Quotes
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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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I'm surviving. I'm a survivor.
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At times people in the press were also useful to me.
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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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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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A photograph can look any way.
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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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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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It was interesting; it's an interesting photographic problem [those demonstrations in the late Sixties]. But if I was doing it as a job, I think I'd have to get paid extra.
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I think there's some stuff that's at least photographically interesting. There are things I back off from trying to talk about.
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I have a burning desire to see what things look like photographed by me.
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If you didn’t take the picture, you weren’t there.
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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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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.
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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.
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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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I'm a photographer, a still photographer. That's it.
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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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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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Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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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.
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I don't know. I don't go around looking at my pictures. I sometimes think I'm a mechanic. I just take pictures. When the time comes, for whatever reason, I get involved in editing and getting some prints made and stuff. There are things that interest me. But I don't really mull over them a lot.
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I look at a photograph. What's going on? What's happening, photographically? If it's interesting, I try to understand why.
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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.