Garry Winogrand Quotes

I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.

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.

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.

I may very well move in. I just don't know. I can't sit here and know what pictures I'm going to take.

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.

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?

I think there's some stuff that's at least photographically interesting. There are things I back off from trying to talk about.

You've got a lot going for you, you see. By just describing well with it, something happens.

I've goofed, and there's been something interesting, but I haven't made use of it. It just doesn't interest me.

I don't really have any faith in anybody enjoying photographs in a large enough sense to matter. I think it's all about finances, on one side.

There are photographers whose shows I try to make it my business to see, if I'm in the city. There are photographers I have no interest in at all.

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.

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.

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 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.

Every photograph could be set up. If one could imagine it, one could set it up. The whole discussion is a way of not talking about photographs.

At times people in the press were also useful to me.

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.

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.

If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.

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.

My only interest in photographing is photography.

You know, you get into the business of commercial photography, and that's all you do is photograph what you know. That's what you're hired for.

I don't have anything to say in any picture.

The museums want large crowds coming to the shows - it's the same thing. It's hype. Absolutely. But there's nothing evil about it.

Certainly, you know, you can always learn from some - from somebody else's - from some intelligence. I think. I hope.

It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.

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.

It's a lot of work organizing something, whether it's a show or a book, and I don't want to do it every day.

I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.

I'm a New Yorker. Matter of fact, the more I'm in places like Texas and California, the more I know I'm a New Yorker. I have no confusions. About that.