Garry Winogrand Quotes
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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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Actually, the animal pictures came about in a funny way.
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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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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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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 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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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.
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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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There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.
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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.
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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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There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.
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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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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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Cameras intrigued me.
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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.
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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.
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A photograph can look any way.
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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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Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
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Certainly, you know, you can always learn from some - from somebody else's - from some intelligence. I think. I hope.
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My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.
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I photograph what interests me. I'm not saying anything different.
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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!