Garry Winogrand Quotes
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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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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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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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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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Cameras intrigued me.
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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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Actually, the animal pictures came about in a funny way.
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Most photographs are of life, what goes on in the world. And that's boring, generally. Life is banal, you know. Let's say that an artist deals with banality. I don't care what the discipline is.
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I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.
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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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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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Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good
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A photograph can look anyway. It just depends basically on what you photograph.
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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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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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It's the easiest thing in the world to do that, to make successful photographs. It's a bore.
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You just go through a certain kind of drudgery every time you have to look for something. I've got certain things grouped by now, but there's a drudgery in finding them. There's always stuff missing.
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A photograph can look any way.
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I photograph to see what the world looks like in photographs.
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There've been times it's been just impossible to find a negative or whatever. But I'm basically just a one man operation, and so things get messed up. I don't have a filing system that's worth very much.
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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 don't know if I'm really the fastest. It doesn't matter.
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I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.
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I photograph what interests me. I'm not saying anything different.