Winogrand's idea

Jamie Pillers

Jamie Pillers

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I read somewhere recently that Garry Winogrand took pictures "to see what something looks like photographed." I'm beginning to buy into that idea... a lot.

I've come to understand two things about my photography: 1) no matter how much I try to pre-visualize a picture, it always looks different when I get the film back; and 2) I make much better photographs when I'm more spontaneous. This second thought is what brought me around to Winogrand's way of thinking. I've often questioned why I'm taking a picture of this or that person, object, or scene in the landscape or on the street. That kind of thinking sends my photographic mind into a kind of depression and I probably then miss lots of opportunities.

Now, when that little thought pops into my head, "why am I taking this picture", I more often respond by saying to myself "because I want to see what it looks like photographed". This little thought frees me up to be much more spontaneous and much less self-critical.

Anyone else have this kind of thinking rolling around inside their head?
 
Very interesting. I think that will help me. I should also be a it more spontaneous with picture taking.
Thanks.
 
Oh yes, everyday. And likewise it helped me alot to read Winogrands thoughts about it. And I like to add some more: Don´t hesitate, shoot now! Don´t think! Think later when you have time for it.
 
My first reaction to reading that is that Gary HAD to say something. I get asked all the time why I took a certain picture, what I was thinking, what I was trying to say, why l take photographs at all, and I'm sure that the same is true with all photographers. But in reality, you get to the point where you KNOW what it'll look like photographed. It becomes a stock answer to a stock question, but it's not the reason you take the picture.
 
The spontaneous 'thing' burns up a lot more film initially, but it also opens up a lot of new ideas/directions for my photography.

It's kind of the same thing I say to my students when they're trying to write essays. I tell them that at first go, don't think about/criticize your writing until you filled up the paper with your 'stream-of-conscience' thoughts. Then go back and edit later. Same with photography... "take pictures to see what it looks like photographed". :)
 
One of my teachers in school used to say, "Film is cheap." He really pounded that into us to make us remember that you should indeed shoot first and ask questions later! What it all means you can sort through later.
 
I suppose a professional photographer has an extra layer of "reason" for making a photograph... his/her client wants such-and-such image. But I'm beginning to see that, even when making a picture of my daughter... I find it much more rational, fun, and even inspirational to think "how will she look photographed this way or that", rather than "I'm going to make yet another photograph of my daughter to add to the 1000 or so already in the pile." :)
 
I have come to the same place, most notably with street shooting (landscape and pinhole are more deliberate and contemplative for me). It's the ONE time when I actually can turn off my analytical mind (being an academic does come at a price: I never stop analyzing things) and just react without conscious thought.

It's completely "right brain", instinctual, at the time of shooting: see, frame, trip the shutter, move on ... wash, rinse, repeat, ... wash, rinse, repeat...

I often find that some of my best shots are ones I have absolutely no recollection of shooting, or I remember the original scene/moment only after seeing the negatives. For me, the left brain, analytical, side comes into play only later when looking at the negs/scans at home.
 
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Sometimes when I am not sure if I should take a shot of a certain scene I think of these words from winogrand, and think "I really dont know what this will look like, so I should capture it and see if it works." otherwise, I'll always be stuck in my own jail of images that I already "know" or already shot before.
 
when in doubt, take the picture. Less thinking, more photography. shoot from the heart and passion for making images. who cares what anybody else says.
 
that is actually one of the reasons for me personally to stick with film -- i know I don't have the willpower to resist chimping if i have an instant method to review; and then i'd be tempted to go back and reshoot frames that I 'muffed'. film forces me to to shoot and move on to the next frame ... i want (need?) that delay and just do not have the willpower to resist the lure of the LCD screen if it's there... the spirit is weak! ;-)

Jamie Pillers said:
Yes! Exactly! Judge/edit your stuff later. :)
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Papercut said:
that is actually one of the reasons for me personally to stick with film -- i know I don't have the willpower to resist chimping if i have an instant method to review; and then i'd be tempted to go back and reshoot frames that I 'muffed'. film forces me to to shoot and move on to the next frame ... i want (need?) that delay and just do not have the willpower to resist the lure of the LCD screen if it's there... the spirit is weak! ;-)
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I have the same weakness. Couldn't have said it better. :)
 
Strikes me that he's talking about the process more than about producing deliverables. Seeing what something looks like photographed -- and noticing the difference -- shapes and guides one's vision and thus the work. If there are no discoveries or disappointments when you see the work, then maybe you're playing it safe.

The painter Mondrian was once asked by a friend why he was painting over a previously finished work instead of using a new blank canvas. He replied that he wasn't trying to make more things but to learn something.
 
Nice point (re: Mondrian). I think that's the next BIG step for me ... to begin paying attention to what can be learned from the mistakes (and from the few good ones). I agree... you can't just "see how something looks photographed". You then need to use that new-found information to "shape & guide" the future work. Thanks.
 
In my experience, I learn more from the 'bold failures' than from the 'safe successes'. Mind you, in my case the baseline is pretty low. The trick to getting above it is not to keep doing the same old stuff, and seeing what happens.

Greetings from across the Bay.
 
I find the spontantaneous approach to photography essential for my enjoyment. It becomes more about documenting a slice of life around me. Each time it is a small step ahead in testing myself. There are occasions, though, where I previsualize the setting, and I choose equipment accordingly.
 
Yes... I often do that as well. As a matter of fact, I'm planning a little get-away photo walk next weekend and I'm thinking of going only with my SLR and two older lenses I haven't used much. So now I'm already pre-visualizing what subject matter might be best suited. But... hmmm, maybe I should shake up the 'cobwebs' and use this equipment for something I'd assumed inappropriate. Hmmm...
 
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