A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. — William Eggleston Copy Share Image
I like to think that my works flow like music. That may be one reason I work in large groups versus one picture of… — William Eggleston Copy Share Image
I don't look at other photographs much at all. I don't know why. I study my own a lot. — William Eggleston Copy Share Image
I had the attitude that I would work with this present-day material and do the best I could to describe it with photography, not… — William Eggleston Copy Share Image
Generally, that's what happens-a fundamental rotting of the idea. They woke up with the wrong idea. It's just like music: If you don't have… — William Eggleston Copy Share Image
I knew it was happening, but I never paid much attention to it . . . just to the passage of time. Something new… — William Eggleston Copy Share Image
You become technically proficient whether you want to or not, the more you take pictures. — William Eggleston Copy Share Image
Unfortunately they're practically all dead. And many were my closest associates: friends, co-directors, whatever you want to say - my partners in crime. — William Eggleston Copy Share Image
I had this notion of what I called a democratic way of looking around, that nothing was more or less important. — William Eggleston Copy Share Image
I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color. — William Eggleston Copy Share Image
The immediate reviews were very hostile, but they didn't bother me-I had the attitude that I was right. The poor guys who were critics… — William Eggleston Copy Share Image
Only the few times I've been to so-called treatment centers, which were a complete waste of money and useless. I didn't know what I… — William Eggleston Copy Share Image
I quite frequently don't look through the camera, which is very close to being blind. — William Eggleston Copy Share Image
A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with… — William Eggleston Copy Share Image
Everything must work in concert. Composition is important, but so are many other things, from content to the way colours work with or against… — William Eggleston Copy Share Image
My friend who I went to boarding school with was interested in photography. He insisted that I buy a camera and marched me downtown. — William Eggleston Copy Share Image
