A Quote by Garry Winogrand
Teaching doesn't relate to photographing, at least not for me.
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People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
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.
It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.
I've seen my own blood and broken a few bones. I've been hit, which isn't an entirely bad thing, as at least you have a glimpse of the suffering endured by the people you are photographing. And in a sense, crumbling empires and war have been with me all my life.
The teaching thing, the one where I have to impart my knowledge, is probably what comes the least naturally to me because I'm an absorber of things.
I was not a big Allman Brothers fan but I could relate to that because that is what the flavor of the day was at that time - at least it was like that for me.
I think when you're photographing - when anybody's photographing another person in a private situation, it's a kind of a seduction but it's not always a sexual seduction... I feel like when Jack [Welpott] was doing it, it was a sexual seduction and when I was doing it, it was more of a psychological seduction in order to get them to cooperate with me... Not because I wanted them to spread their legs or... be, you know, Wanna sleep with me? , or whatever.
Teaching high school was my real training as a novelist: it got me out of my head, and (at least a little) out of books, and invested me in the lives of others and the world around me.
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
If no one on the movie has met me before or knows me, that's the easiest. I don't do a lot of things that don't relate to being the person. I will try to keep it going for my other actors. I want them to do the least amount of pretending as possible.
The truth is, I should have never done teaching. I did teaching because I didn't have the bottle to have a go at comedy. Whether there's any gain to comedy is not for me to say. But certainly it was no loss to teaching.
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
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