Garry Winogrand Quotes
-
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.
-
Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
-
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.
-
A photograph can look anyway. It just depends basically on what you photograph.
-
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.
-
The photograph should be more interesting or more beautiful than what was photographed
-
There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
-
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.
-
Actually, the animal pictures came about in a funny way.
-
There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.
-
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.
-
Now and then I'll get a student who asks a question that puts me up against the wall and maybe by the end of the semester I can begin to deal with the question.
-
Cameras intrigued me.
-
A photograph can look any way.
-
I don't think time is involved in how the thing is made.
-
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.
-
Certainly, you know, you can always learn from some - from somebody else's - from some intelligence. I think. I hope.
-
Sometimes photographers mistake emotion for what makes a great street photograph.
-
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.
-
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.
-
Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
-
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.
-
There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.
-
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.