Garry Winogrand Quotes
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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'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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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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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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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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The photograph should be more interesting or more beautiful than what was photographed
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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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Actually, the animal pictures came about in a funny way.
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A photograph can look anyway. It just depends basically on what you photograph.
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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 don't think time is involved in how the thing is made.
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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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A photograph can look any way.
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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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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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Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.
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Cameras intrigued me.
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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 photograph what interests me. I'm not saying anything different.
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Sometimes photographers mistake emotion for what makes a great street photograph.
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I generally deal with something happening.
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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 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.