William Klein
[Photographer, b. 1928, New York, lives in Paris.]
I wanted to do something altogether vulgar.
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.
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.
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 used the wide-angle lens as a normal lens. I had no philosophy about it. When I looked in the viewfinder and realized I could see all the contradictions and confusion that was there with the wide-angle—that was what was great.
