Quotes by
William Klein

I didn’t relate to European photography. It was too poetic and anecdodtal for me.... The kinetic quality of New York, the kids, dirt, madness--I tried to find a photographic style that would come close to it.So I would be grainy and contrasted and black. I’d crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.

Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work.

So who can pin down photography? We’re drunk with images. [Sontag’s] sick of it. I’m sick of it. But we’re moved by old amateur photographs because they aren’t concerned about theories of photography or what a picture must be. They’re just photographs without rules or dogma.

I was very consciously trying to do the opposite of what Cartier-Bresson was doing. He did pictures without intervening. He was like the invisible camera. I wanted to be visible in the biggest way possible.

I never went to those meetings—all those women with hats and thick glasses.

I spent six months in New York at that time [1954] and thought I had a book. So I went to publishers here, in New York, and got nowhere. Most of the people who looked at the photographs looked at the work and said “What kind of book is this? You make New York look like a slum.” I said, “Yeah, New York is a slum.” “What kind of New York are you showing me, everything black and awful?” I said, “No, you live on Fifth Avenue and your office is on Madison. You’ve never been to the Bronx, you’ve never been to Queens or Flatbush. This is the real New York.”

Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds—bang! bang! ... It must be close to what a fighter feels after jabbing and circling and getting hit, when suddenly there’s an opening, and bang! Right on the button. It’s a fantastic feeling.

I have always done the opposite of what I was trained to do... Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.

My photographs are the fragments of a shapeless cry that tries to say who knows what... What would please me most is to make photographs as incomprehensible as life.

I think there are two kinds of photography—Jewish photography and goyish photography. If you look at modern photography, you will find, on the one hand the Weegees, the Diane Arbuses, the Robert Franks—funky photographs. And then you have the people who go out in the woods. Ansel Adams, Weston. It’s like black and white jazz.

Quite deliberately, I did the opposite to what was usually done. I thought that an absence of framing, chance, use of the accidental and a different relationship with the camera would make it possible to liberate the photographic image. There are some things that only a camera can do. The camera is full of possibilities as yet unexploited. But that is what photography is all about. The camera can surprise us. We must help it do so.

Anybody who pretends to be objective isn’t realistic.

I’ve noticed that in general the Paris of photographers... was romantic, foggy and above all, ethnically homogeneous. But for me, Paris was, as much as and perhaps more than New York, a melting pot. A cosmopolitan city, multicultural and totally multiethnic, whatever Le Pen thinks.

With all these so-called great photographers—Cartier-Bresson and Doisneau—everything is so hunky dory.

I find it satisfying that what I've done in photography has had so much influence in how people take photographs and what they look at and how they look at things.