William Klein
[Photographer, b. 1928, New York, lives in Paris.]
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.
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
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.
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 didn’t relate to European photography. It was too poetic and anecdotal 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.
I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.
I wanted to do something altogether vulgar.
I had neither training nor complexes. By necessity and choice, I decided that anything would have to go. A technique of no taboos: blur, grain, contrast, cock-eyed framing, accidents, whatever happens.
