I think with being blind the one thing you would have going is that you could still feel things, see your way around so to speak. And if you had had the experience of seeing at one time in your… — 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
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
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
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
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
You become technically proficient whether you want to or not, the more you take pictures. — William Eggleston Copy Share
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
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
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
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
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
I quite frequently don't look through the camera, which is very close to being blind. — William Eggleston Copy Share
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
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
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
