Garry Winogrand Quotes
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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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Sometimes photographers mistake emotion for what makes a great street photograph.
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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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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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Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good
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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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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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The photograph should be more interesting or more beautiful than what was photographed
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A photograph can look any way.
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I don't know if I'm really the fastest. It doesn't matter.
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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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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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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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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 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 photograph to see what the world looks like in photographs.
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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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Actually, the animal pictures came about in a funny way.
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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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Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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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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I don't think time is involved in how the thing is made.
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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.