A Quote by Garry Winogrand
A photograph can look anyway. It just depends basically on what you photograph.
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In the simplest sentence, I photograph to find out what something will look like photographed. Basically, that's why I photograph, in the simplest language. That's the beginning of it and then we get to play the games.
I guess my choice of medium depends on how I want to interpret the idea. Sometimes the interpretation works best in a photograph, and then sometimes it works best in a drawing. But most often times, with the work, everything starts with the diorama with the photograph. Then I'm just filtering out ideas and images from the photograph and reinterpreting them in other mediums.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.
A photograph is a photograph. When I am making a picture I am just interested in making a very interesting photograph. I don't care where it's going to go.
I never look for a photograph. The photograph finds me and says, I'm here! and I say, Yes, I see you. I hear you.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
The photograph, after all, is just a photograph. Words will determine its meaning and status.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
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