Garry Winogrand Quotes
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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 don't think time is involved in how the thing is made.
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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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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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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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I photograph what interests me. I'm not saying anything different.
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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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I look at a photograph. What's going on? What's happening, photographically? If it's interesting, I try to understand why.
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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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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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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 pretty much know what I'm doing.
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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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The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.
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If you didn’t take the picture, you weren’t there.
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Let's put it this way - I photograph what interests me all the time. I live with the pictures to see what that thing looks like photographed. I'm saying the same thing; I'm not changing it.
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My only interest in photographing is photography.
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I have no idea what's going to happen. Who knows - if they can't afford to buy a boat, maybe they buy a print. Who knows what happens with their buck?
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I've goofed, and there's been something interesting, but I haven't made use of it. It just doesn't interest me.
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In terms of content, you can make a problem for yourself, I mean, make the contest difficult, let's say, with certain subject matter that is inherently dramatic.
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What you photograph is responsible for how a photograph looks - the form, the design, whatever word you want to use.
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As far as my end of it, photographing, goes, all I'm interested in is pictures, frankly. I went to events, and it would have been very easy to just illustrate that idea about the relationships between the press and the event, you know.
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I don't think of it as difficult. It would be difficult if I were carrying something heavy, but I carry Leicas. You can't talk about it that way. I'm not operating a shovel and getting tired.
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Nobody exists in a vacuum.