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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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 game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.
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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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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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I have a burning desire to see what things look like photographed by me.
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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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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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I'm a photographer, a still photographer. That's it.
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A photograph can look any way.
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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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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 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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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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Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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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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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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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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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 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 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 don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!
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I photograph to see what the world looks like in photographs.
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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.