Photography is not about the thing photographed. It is about how that thing looks photographed.— Garry Winogrand
The most thrilling Garry Winogrand quotes that are easy to memorize and remember
Photography is about finding out what can happen in the frame.
When you put four edges around some facts, you change those facts.
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.
A photograph is the illusion of a literal description of how the camera 'saw' a piece of time and space.
I photograph to find out what something will look like photographed.
Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good
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.
Every photograph is a battle of form versus content.
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.
I photograph what interests me. I'm not saying anything different.
The world isn't tidy; it's a mess. I don't try to make it neat.
Great photography is always on the edge of failure.
If I saw something in my viewfinder that looked familiar to me, I would do something to shake it up.
I have a burning desire to see what things look like photographed by me.
Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.
Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.
Photos have no narrative content. They only describe light on surface.
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.
There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.
There are things I back off from trying to talk about, you know.
Particularly my own work. Also, there may be things better left unsaid. At times I'd much rather talk about other (people's) work.
If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.
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.
When I was a kid in New York I used to go to the zoo.
I always liked the zoo. I grew up within walking distance of the Bronx Zoo. And then when my first two children were young, I used to take them to the zoo. Zoos are always interesting. And I make pictures.
If you ever watch children play - what do you observe when you watch children play? You know, they're dead serious. They're not on vacation.
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.
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.
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.
Los Angeles has interested me for a long time.
I was in Texas for five years, for the same reason. I wanted to photograph there.
There are people who like photography;
there are people who are worrying about what's going to happen with the dollar. They want to get anything that seems hard. I don't know, but I think it's got to do with economics. Now and then you get somebody who buys a picture because he likes it.
I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.
I don't think time is involved in how the thing is made.
I don't know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.
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.
I'm still compulsively interested in women.
It's funny, I've always compulsively photographed women. I still do.
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.
I don't think anything happens without the press, one way or the other.
I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.
You don't solve anything ever, really.
You simply state a problem which, when you're lucky, gives you some idea of what possible problems you can - it indicates, you know, your future headaches.
If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.
No one moment is most important. Any moment can be something.
Tod or Hank Wessel, Bill Dane, Paul McConough, Steve Shore.
Robert Adams, for sure. I'm ready to see what they do.There's a lot of people working reasonably intelligently.
I don't know if I'm really the fastest. It doesn't matter.
I have no expectations. None at all.
There are things I photograph because I'm interested in those things.
A photograph can look anyway. It just depends basically on what you photograph.
[Me book is] called Stock Photographs.
It was done at the Fort Worth livestock show and rodeo. I was commissioned to shoot there by the Fort Worth Art Museum for a show. I probably shot a total of fourteen days, give or take.
When I look at photographs, I couldn't care less "how."
I'm surviving. I'm a survivor.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.