Garry Winogrand Quotes
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I don't know if I'm really the fastest. It doesn't matter.
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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 have to photograph where I am.
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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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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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If you didn’t take the picture, you weren’t there.
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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 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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At times people in the press were also useful to me.
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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.
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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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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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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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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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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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Let's put it this way - I photograph what interests me all the time. I live with the pictures to see what that thing looks like photographed. I'm saying the same thing; I'm not changing it.
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I have a burning desire to see what things look like photographed by me.
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I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.
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I'm a photographer, a still photographer. That's it.
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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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Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good
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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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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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Actually, the animal pictures came about in a funny way.