10 Things Garry Winogrand Can Teach You About Street Photography

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

(Above image: Garry Winogrand, World’s Fair, New York City, 1964. All photographs in this article copyrighted by the estate of Garry Winogrand)

Garry Winogrand is one of my favorite street photographers that I have gained much photographic insight and wisdom from. He was in-arguably one of the most prolific street photographers of his time (he shot over 5 million photographs in his career) and one of the most passionate. However, he hated the term “street photographer” and simply saw himself as a “photographer”. It is an idea I later understood and respected very dearly, as Winogrand was more interested in making photographs than classifying himself for art historians.

I never understood a lot of the things that he said about photography like why you should wait a year or two before developing your shots, why photographs don’t tell stories, and how photographers mistake emotion for what makes great photographs. Although I didn’t really get what he was saying, I was intrigued.

After having done a ton of research on Winogrand and finding out more about his philosophy in photography, I found a treasure chest. Although I am not an expert on Garry Winogrand, he has influenced my street photography profoundly. I wish through this article to illustrate some things that Winogrand taught to his former students (the bulk of the quotes are from “Class Time with Garry Winogrand by O.C. Garza” [PDF] as well as “Coffee and Workprints: A Workshop With Garry Winogrand” by Mason Resnick).

If you want to learn more about what you can learn from Garry Winogrand, read on!

1. Shoot, a lot

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Garry Winogrand shot a lot of photographs. To give you a sense of how much he shot, read this one account of him shooting on the streets from a former student that he had:

“As we walked out of the building, he wrapped the Leica’s leather strap around his hand, checked the light, quickly adjusted the shutter speed and f/stop. He looked ready to pounce. We stepped outside and he was on.

We quickly learned Winogrand’s technique–he walked slowly or stood in the middle of pedestrian traffic as people went by. He shot prolifically. I watched him walk a short block and shoot an entire roll without breaking stride. As he reloaded, I asked him if he felt bad about missing pictures when he reloaded. “No,” he replied, “there are no pictures when I reload.” He was constantly looking around, and often would see a situation on the other side of a busy intersection. Ignoring traffic, he would run across the street to get the picture.” – Mason Resnick

Wow, shooting an entire roll in a short block without breaking stride? Many street photographers struggle to finish an entire roll in a day, let alone in a short block.

If you want to see how much film he shot, you can see the image of film worn onto the pressure plate of his Leica M4 here.

Not only that, but at the time of his unfortunate early-death (at age 56) he left behind 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures (not made into contact sheets), and contact sheets made from about 3,000 rolls. In addition to that, the Garry Winogrand Archive at the Center for Creative Photography has over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.

Winogrand shot at a pace in which he couldn’t even see his own photos (because he was always out on the streets, shooting). In an interview that he did with Barbara Diamonstein she asks him:

Diamonstein: When you looked at those contact sheets, you noticed that something was going on. I’ve often wondered how a photographer who takes tens of thousands of photographs — and by now it may even be hundreds of thousands of photographs — keeps track of the material. How do you know what you have, and how do you find it?

Winogrand: Badly. That’s all I can say. There’ve been times it’s been just impossible to find a negative or whatever. But I’m basically just a one man operation, and so things get messed up. I don’t have a filing system that’s worth very much.

Diamonstein: But don’t you think that’s important to your work?

Winogrand: I’m sure it is, but I can’t do anything about it. It’s hopeless. I’ve given up. You just go through a certain kind of drudgery every time you have to look for something. I’ve got certain things grouped by now, but there’s a drudgery in finding them. There’s always stuff missing.”

Winogrand accepted the fact that he wouldn’t ever have enough time to see all of his photographs that he shot, and that there would be negatives he could never find (because of the volume of photographs that he took).

I always wondered whether I should shoot a lot or be as selective as I can when shooting on the streets.

I have always shot a lot in street photography. For example, when I shot digitally, I would often take 300-500 a day (no problem). Now with film, I have slowed down a bit (generally 1-3 rolls a day). 5-6 rolls if I am feeling really ambitious (like my recent trip in Istanbul).

However I wasn’t quite sure if I was simply wasting my time by taking so many photographs, and not improving as a street photographer (because I would take more photographs “than necessary”).

One quote that really struck me from my friend Charlie Kirk:

“When in doubt, click”

Now when I am out shooting, I always make sure to take at least 2-5 shots of a scene that I see (because a subtle change of gesture, position, or people in the background can change in a fraction of a second). If you also study the contact sheets of very famous photographers (and their photographs) you will see that they don’t just go for one shot when they see “the decisive moment” about to happen: http://erickimphotography.com/blog/2012/07/how-studying-contact-sheets-can-make-you-a-better-street-photographer/

Not only did Winogrand shoot a lot, but he was always out on the streets. People described him as being restless, and always shaking around in his seat (even while seated). He had an insatiable urge to be out and about, photographing life around him.

How many photographs did Winogrand take exactly in his lifetime? Let’s do the math by once again taking a look at photos collected at his death and photos stored in his archive:

(Left behind at his death)

  • 2,500 undeveloped film = 90,000 photos
  • 6,500 developed (but not contact sheets) = 234,000 photos
  • 3,000 contact sheets = 108,000 photos
  • Total: 432,000 photos

(In Winogrand’s Archive)

  • 20,000 contact sheets = 720,000 photos
  • 100,000 negatives = 3,600,000 photos
  • 30,500 color slides = 1,098,000 photos
  • Total: 5,418,000 photos

In total (on the low end) we can be certain that he shot at least 5,850,000 photos in his lifetime. He passed away and never saw nearly half a million of his shots (432,000 photos) and in his archive they have around 5,418,000 photos.

How many photos (on average) did he shoot a day?

Well he started studying painting at City College of New York and painting and photography at Columbia University in New York City in 1948 (aged 20). He passed away at age 56. Therefore he must have had at least 36 years of shooting.

Assuming that he shot 5,850,000 photos in his lifetime (and shot for 36 years), that would equate to 445 photographs a day (or 12 rolls of film a day).

*Note: I just got a comment from Blake Andrews that the number of shots Winogrand took might have been lower, at around 1-1.5 million photographs. Needless to say, Winogrand shot a lot.

As Michael David Murphy said on his essay on Winogrand, Winogrand was indeed “…the first digital photographer”.

I think it is difficult for the majority of us to shoot 445 photographs a day (12 rolls of film a day). However I think one thing that we can take is that with sheer amounts of volume, we can increase our odds of getting memorable images.

Of course we cannot simply equate what makes a memorable street photograph down to a mathematical equation, but my point is in order to take memorable street photographs, we need to subject ourselves to more “decisive moments”. Generally that is increased by spending more time shooting on the streets, and shooting a lot.

So not to put your camera into burst mode and take tens and thousand of photographs a day (for the sake of shooting a lot) – try to be intentional in the photographs that you take, but don’t try to limit yourself in terms of the number of photographs that you take.

2. Don’t hesitate and follow your gut

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Hesitation is one of the things that kills most potentially great street photographs. We might see a great scene unfold before our very eyes, but we may hesitate for one reason or another (the person is too far away, they might get angry at us, I don’t want to be disrespectful).

When Winogrand would shoot on the streets, he wouldn’t hesitate to take his shots, and would actively pursue his shots. As mentioned from Mason Resnick in his 2-week long workshop with Garry Winogrand:

“He was constantly looking around, and often would see a situation on the other side of a busy intersection. Ignoring traffic, he would run across the street to get the picture.”

I am not advocating for you to be reckless and getting hit by cars while chasing decisive moments.

However I think one thing that we can learn from Winogrand is to follow our instincts and our guts, and go for our shots. If a person is too far away, we should either run (or walk) to them and go for the shot. If we think that they may get upset for us taking the shot, we should put away those assumptions and go for the shot anyways. If we are concerned of offending people, take the shot anyways. If you feel guilty afterwards, you can always delete the photograph afterwards (or never show it to anyone else).

3. Smile when shooting on the streets

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Garry Winogrand shot with a 28mm lens for most of his life, which meant that for the majority of his shots he had to be quite close to his subjects (and in front of them). Therefore Winogrand wasn’t Henri Cartier-Bresson (trying to be invisible) but was actively a part of the action and immersed in the crowds. He would be very obviously taking photographs in the streets and would stick out like a sore thumb. (You can see a clip of him shooting in the streets here.

Mason Resnick continues about his experiences seeing Winogrand shooting on the streets:

“Incredibly, people didn’t react when he photographed them. It surprised me because Winogrand made no effort to hide the fact that he was standing in way, taking their pictures. Very few really noticed; no one seemed annoyed.

Winogrand was caught up with the energy of his subjects, and was constantly smiling or nodding at people as he shot. It was as if his camera was secondary and his main purpose was to communicate and make quick but personal contact with people as they walked by.”

Winogrand’s experiences mirror mine as well. When I am shooting on the streets, I always try to do it with a smile on my face, and generally nod to people after taking their photograph, saying “thank you”, complimenting them, or even chatting with them after taking their photograph. This sends off a positive aura in which people don’t feel as suspicious of you taking a photograph.

I am sure that there were many times in which people got pissed off when Winogrand took their photograph, and would react hostily to him. However that is inevitable in street photography and cannot be avoided. I am not sure how Winogrand would have reacted, but he never got sent to the hospital for being physically attacked after taking a street photograph of someone.

Remember to keep smiling when shooting on the streets :)

4. Don’t shoot from the hip

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Garry Winogrand would discourage “shooting from the hip” – as Resnick recounts this story:

“I tried to mimic Winogrand’s shooting technique. I went up to people, took their pictures, smiled, nodded, just like the master. Nobody complained; a few smiled back!

I tried shooting without looking through the viewfinder, but when Winogrand saw this, he sternly told me never to shoot without looking. “You’ll lose control over your framing,” he warned. I couldn’t believe he had time to look in his viewfinder, and watched him closely.

Indeed, Winogrand always looked in the viewfinder at the moment he shot. It was only for a split second, but I could see him adjust his camera’s position slightly and focus before he pressed the shutter release. He was precise, fast, in control.”

Therefore when shooting in the streets, use your viewfinder (if you have one). It is possible to get good shots when shooting from the hip, but you will have far less control over your framing and composition when shooting on the streets.

In an interview Winogrand did during a few Q & A sessions in Rochester, New York in 1970 in which “shooting from the hip” was mentioned:

Moderator: Actually, what I’m asking is do you often shoot without using your viewfinder?

Winogrand: I never shoot without using the viewfinder—Oh, yes, there’ll be a few times,—I may have to hold the camera up over my head because for just physical reasons, but very rarely does that ever work.”

If your camera has a viewfinder, use it- that’s why it’s there. I used to shoot quite a bit from the hip when I started off (because I was shy to take photographs of people) but found it to personally be a crutch to me. When I got really lucky, I would get a decent shot. But the majority of my shots were generally poorly framed, blurry, or out-of-focus.

Once I started using my viewfinder religiously, not only did my composition and framing improve, but also my framing.

Of course if your camera only has an LCD screen (or you don’t want to buy an EVF for your micro 4/3rds or point & shoot camera) you can’t use a viewfinder. But try to keep in mind to always shoot with intent, and focus on your framing.

5. Don’t crop

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Another thing that Winogrand advocated (which Henri Cartier-Bresson also advocated) was not cropping.

As O.C. Garza recounts in a photo class he took with Winogrand:

“The rest of the workshop followed the same pattern. I shot like a maniac all day (as did most of the other students), worked in the darkroom until dawn, schlepped my pile of 8x10s back into New York from Long Island for the 9 a.m. class.

Winogrand divided the shots into good and bad. I studied his selections, trying to divine his logic. I eventually realized that when the whole photograph worked–an intuitive response to something visual, unexplainable in words–he liked it. If only part of the photo worked, it wasn’t good enough.

Cropping was out–he told us to shoot full-frame so the “quality of the visual problem is improved.” Winogrand told us to photograph what we linked, and to trust our choices, even if nobody else agreed with them.”

Although cropping can be a great tool to improve your photographs, it can also be another crutch. I used to crop quite a bit for my street photographs (when I had a messy background or distracting elements). However this lead me to having the mentality of not getting the photo right “in-camera” as I would subconsciously think to myself: “If the framing isn’t good, I can always crop later”.

Once again, try to get your framing right in-camera- as it will force you to “dance around” more on the streets to get a more coherent shot. Instead of shooting people against distracting backgrounds, it will encourage you to walk around them, taking a photograph of them behind a more simple background (that is less distracting). We will also get closer to our subjects to frame them better, rather than just cropping in from around the frame.

I am not saying that you should never crop a photograph (if you look at Robert Frank’s contact sheets of “The Americans” – he cropped a lot of his photographs), but try to do it in moderation and sparingly.

6. Emotionally detach yourself from your photographs

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Winogrand once famously said, “Sometimes photographers mistake emotion for what makes a great street photograph.” When I first read the quote, I wasn’t quite sure what he meant by that.

To clarify what he meant, let’s go back to the class that O.C. Garza took with Winogrand:

“By the second week, Winogrand had opened up and told us about his working methods, which were rather unorthodox but not sloppy.

He never developed film right after shooting it. He deliberately waited a year or two, so he would have virtually no memory of the act of taking an individual photograph.

This, he claimed made it easier for him to approach his contact sheets more critically. “If I was in a good mood when I was shooting one day, then developed the film right away,” he told us, I might choose a picture because I remember how good I felt when I took it, not necessarily because it was a great shot.

You make better choices if you approach your contact sheets cold, separating the editing from the picture taking as much as possible.”

I agree much with this sentiment of waiting an extended period of time before editing your shots. One of the great parts of digital (seeing your images instantly) can also be it’s downfall. Even Alex Webb talked about his frustrations moving from shooting Kodachrome slide film into shooting digital by saying that it didn’t give him enough time to wait before seeing his images, and that he saw his photos almost “too quickly” before he was emotionally prepared to look/edit them.

Therefore when I was shooting digitally, one of the issues I had was always having the urge to look at my photographs instantly. If I was shooting on the streets and took a photograph of something I thought was amazing (let’s say a little girl with a red umbrella jumping over a puddle) I might confuse the emotion I felt with taking the photograph of thinking that it was good (rather than the photograph itself).

I would then look at my LCD, scream in delight, rush home, post-process it, and then upload it directly to Flickr. After a few days I would be dismayed to see how many few “favs” or comments I got from the shot (in compared to the rest of my shots), and be confused why the shot wasn’t good. Of course after a few weeks I would realize that the shot wasn’t “as good as I remembered it” and would have compositional flaws as well as timing.

One of the benefits I personally have had when shooting film is that it has helped me emotionally distance myself from my shots. I generally shoot around 50 rolls of film for every month of traveling and shooting street photography, and I don’t look for my photographs at least for a month after taking it.

When I finally look at the images I took, I would forget taking half of them, which would help me be much more objective during the final editing (selection) process.

Whether you shoot digital or film, I think we can all learn from Winogrand in waiting before seeing or processing your shots. Let your shots marinate like a nice steak, or aerate like a nice red wine. Waiting for a year or two before seeing your photographs may be a bit hardcore, but it will definitely help you forget the images you took and be more objective when looking at your shots.

Perhaps if you shoot digitally, wait a few days or even a week before looking at your shots in-depth in Lightroom. Hell, you can even make it a month or longer! Same applies to film.

7. Look at great photographs

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No photographs live in a vacuum, and certainly Winogrand didn’t. He was a great fan of many of his contemporary street photographers (as well as those who came before him).

Going back to Resnick’s workshop with Winogrand:

“He encouraged us to look at great photographs. See prints in galleries and museums to know what good prints look like. Work.

Winogrand recommended looking at The Americans by Robert Frank, American Images by Walker Evans, Robert Adams’ work and the photographs of Lee Friedlander, Paul Strand, Brassai, Andre Kertesz, Weegee and Henri Cartier-Bresson.

Also in another interview with Image Magazine in 1972:

Moderator: Do you look at a lot of other people’s photographs?

Winogrand: Sure. I look at photographs.

Moderator: Whose photographs do you find interesting?

Winogrand: Quickly, off the top of my head: Atget, Brassai, Kertesz, Weston, Walker Evans, Robert Frank, Bresson.

Moderator: Do you like them for different reasons or do you find a reason?

Winogrand: I learn from them. I can learn from them.”

Winogrand also discusses in the same interview about how he got inspired to start shooting photography:

“Nobody exists in a vacuum. Where do you come from? The first time I really got out of New York as a photographer was in 1955 and I wanted to go around the country photographing. And a friend of mine at that time, I was talking to him about it—a guy named Dan Weiner. I don’t know if you know his name. He’s dead now.

[He] asked me if I had ever seen Walker Evans’ book and I said, no. I had never heard of Walker Evans. He said, if you’re going around the country, take a look at the book. And he did me a big fat favor.

And then it’s funny, I forget what year when Robert Frank’s book came out. He was working pretty much around that time, ’55 or whenever it was. And there were photographs in there, particularly that gas station photograph, that I learned an immense amount from. I mean, I hope I learned. At least, I feel very responsible…”

Draw inspiration from other photographers. See what about their work that resonates with you, and take bits and pieces and synthesize it with your own photography. Whether it be the subject matter that they shoot, the framing and angles they use, or the certain techniques they use.

I think it is dangerous for street photographers to put themselves into a bubble, and not be influenced by great work.

“You are what you eat”. Consume tons of great photography books, check out other street photography blogs, and visit local exhibitions and libraries.

8. Focus on form and content

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Winogrand famously said, “Every photograph is a battle of form versus content” and that “Great photography is always on the edge of failure.”

With lots of the word games that he says in his quote, I never quite understood what he meant. OC Garza shares his experience with Winogrand:

“Later on I began to see the headlights coming at me. If all the graphic elements are coming together, why do my photos still look like crap? Studying more of Garry’s work, I reasoned that not only were his photos working graphically, but something was happening in them. He would call this “content.” Garry repeated often this phrase; every photograph is a battle of form versus content. The good ones are on the border of failure.”

Form & content are two keys which make a memorable street photograph. Consider “form” as the composition, framing, and technical aspects of a photograph. Consider “content” as what is actually happening in the photograph (whether it be an old couple holding hands, a boy holding two bottles of wine, or a man looking through a peep-hole).

We need both strong form and content to make a memorable street photograph – but rarely does it ever happen. That what makes street photography so hard.

I am sure we have all had street photographs that we took that we weren’t quite sure were good or not. I like to call these the “maybe shots”. I have an entire folder full of them, but they usually are strong in terms of form, but have poor content. Others have strong content, but poor form.

I think that’s what Winogrand meant when he said that “Great photography is always on the edge of failure.” There are many things that can make our photographs fail. But if you are lucky enough, have enough dedication, and can create a well-balanced frame with interesting content- you can make a great street photograph.

9. Become inspired by things outside of photography

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I think that in order to be more original and unique in your street photography, look outside of photography for inspiration. Winogrand shares the same sentiment in his interview with Image Magazine in 1972:

Moderator: You feel you’ve been hustled in a pool room. . . . Are there any other things that relate photographically that are not necessarily other photographs? By this I mean, do you ever get ideas—not ideas—is your education ever expanded by an interest in something else other than photography?

Winogrand: I would think so. A heck of a lot. Reading and music and painting and sculpture and other stuff. Basketball, baseball, hockey, etc. Certainly, you know, you can always learn from some—from somebody else’s—from some intelligence. I think. I hope.”

Consume art, books, music, painting, sculpture, and things outside of street photography. This will help you get a new angle in your photographic vision.

For example Sebastião Salgado, one of the most influential social documentary photographers and photojournalists started off his career as an economist, studying work. However after going to the work sites in-person, he soon chose to abandon economics (too focused on theory) and chose to pursue photography to more vividly show working conditions of people all around the world. Salgado took his outsider’s experience as an economist, and applied it to photography beautifully.

I started off being a sociology student at UCLA, and my interest in photography started at around the same time. When I was trying to think of what type of photographs I liked to make, I quickly realized that they were generally about people in society. Now I try to use my interest in sociology to apply to my street photography projects.

Think about how your personal experiences and interests (outside of photography) influences your street photography. This will help you discover a much more unique voice and help you create photographs that resonate who you are as a person.

10. Love life

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In Garry Winogrand’s retrospective book published by MOMA, former curator John Szarkowski wrote a very lovely biography of the life of Winogrand.

One of the things that stood out to me the most was the conclusion, in which Szarkowski wrote (recited loosely by memory) was in which he discusses the confusion that people had about Winogrand (why did he take so many photographs if he knew he wasn’t going to look at so many of them?)

Szarkowski wrote quite eloquently how Winogrand was less interested in photography, and more interested about living and capturing life.

I think as street photographers we can all learn wisdom from what Szarkowski, and the example that Winogrand lead in his life.

As street photographers we should strive to take memorable street photographs of people, society, and how we see the world. But let’s not forget, photography comes second after living life.

11. Don’t call yourself a “street photographer”

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Garry Winogrand hated the term “street photographer”. He simply called himself a photographer — nothing more, and nothing less.

One of the dangerous things about classifying yourself as a certain type of photographer is that it can pigeon-hole you. After all, it is Robert Capa who advised Henri Cartier-Bresson the following:

“You must not have a label of a Surrealist photographer. If you do, you won’t have an assignment and you’ll be like a hothouse plant ….The label should be photojournalist.”

Furthermore even though Henri Cartier-Bresson was undoubtly the godfather of “street photography” – he never referred to himself as a street photographer either.

Of course we call ourselves “street photographers” for a practical reason. After all, if you meet someone who asks you what kind of photos you take– you won’t tell them you are a landscape photographer or a bird photographer. However it can be a pain to tell them, “Oh, I like to take photos of strangers on the street, sometimes with permission and sometimes without permission”. Calling yourself a “street photographer” is simply easier.

However even within the street photography community, street photographers come in many different colors. You got street photographers that focus more on the face, others that focus more on “the decisive moment”, others that focus on still lives, and others that focus on unusual or canny situations in public.

Garry Winogrand Technical Information:

Below are some technical points about Garry Winogrand (his film, his equipment, focal lengths) that I would also like to share:

1. Winogrand shot often pushed his film to 1200 ASA

“We were using Tri-X film pushed to 1200 ASA, whereas the normal rating is 400. The reason was to be able to shoot at 1/1000th of a second as much as possible, because if you made pictures on the street at 1/125th, they were blurry. If you lunged at something, either it would move or else your own motion would mess up the picture. I began to work that way after looking at my pictures and noticing that they had those loose edges, Garry’s were crisp.” – via Joel Meyerowitz From Bystander: A History of Street Photography.

2. Winogrand shot with a Leica M4’s, mostly with 28mm lenses:

“He opened his camera bag. In it were two Leica M4’s, equipped with 28mm lenses and dozens of rolls of Tri-X. The top of the bag was covered with yellow tabs. He told us he wrote light conditions on the tabs and put them on rolls as he finished them so he would know how to develop them.

As we walked out of the building, he wrapped the Leica’s leather strap around his hand, checked the light, quickly adjusted the shutter speed and f/stop. He looked ready to pounce. We stepped outside and he was on.”

3. Winogrand experimented with different focal lengths (21mm, 28mm, and 35mm, but shot mostly with a 28mm).

From an interview:

Moderator: In his essay in your new book, Todd Papageorge talks about your changing, in the period 1960-1963, I guess, to a wider-angle lens. Is that right?

Winogrand: Yeah, I started fooling around with a 28 – from a 35.

Moderator: You said of that, that it made the problems more interesting – was that just because there were more things to account for?

Winogrand: More or less, sure. Ideally, I wish I had a lens that took in my whole angle of vision, without mechanical distortion – that’s the headache with these things. Ideally, that would probably be the most interesting to work with. The 28 is probably where the mechanical distortion is least limiting – much less limiting than a 21. It’s closest to the angle of attention. It’s pretty close to at least my angle of attention. Probably the 21 is more so, but its just extremely limiting. You have to use it very carefully.

Moderator: If you tilt it at all, you get very strange angles …

Winogrand: Well, it’s not a question of tilting; the minute you get in the center of people, a little bit close, you get another kind of nonsense happening, that falling over. In the end, those pictures wind up being primarily about what the lens is doing. If there was a 21 that didn’t behave that way, I’d probably use it.

Moderator: Do you shoot with anything other than the 28 at all?

Winogrand: Yeah, in the last six months I’ve gone back to a 35mm lens, because I’m sort of bored looking at 28mm contact sheets! So I just started fooling around with the 35mm again. There’s nothing very complicated about my reasons!

Moderator: Does that make the problem easier, then?

Winogrand: No; I can manage to keep it interesting for me.

Moderator: Do you find that you’re putting less in the frame now, with the new lens?

Winogrand: I don’t really know; I just take pictures, and they look almost the same to me. I really don’t know how to answer that question. The only real difference is, with a 28, racking it out as far as it’ll go, let’s say in terms of a face, there’s a lot less space, with a 35mm, left. It’s an interesting little difference. The minute you back up a little, then it becomes a question of how far you’ve got to back up. So with a 35 you’re probably going to back up more, usually. Or you’ll do things without feet… I really don’t want to look at contact sheets that are going to look the same as a 28. Even if I could do that with a 35, by changing my distance or whatever. I’m playing, in a sense. It’s all about not being bored.

4. Photos of Winogrand’s Leica M4

Something cool I stumbled upon, photos of Winogrand’s Leica M4 (well used) via Camera Quest.

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Things You Might Have Not Known About Winogrand

He often shot the streets of New York City with Joel Meyerowitz (side by side). He also shot in the streets with Tod Papageorge. See interesting image below as well:

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The famous shot by Garry Winogrand

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Behind the scenes of his famous shot. Photograph by Tod Papageorge. Photo found on 2point8

Quotes by Garry Winogrand

Below are a list of some quotes that Garry Winogrand is famous for:

  • “Photos have no narrative content. They only describe light on surface.”
  • “Photographers mistake the emotion they feel while taking the picture as judgment that the photograph is good.”
  • “Great photography is always on the edge of failure.”
  • “Every photograph is a battle of form versus content.”
  • “I photograph to see what the world looks like in photographs.”
  • “I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both.”
  • “I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.”
  • “There is no special way a photograph should look.”

You can see more quotes by Garry Winogrand here.

Winogrand Color Work

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Garry Winogrand Self-Portrait. Click to see more on Nick Turpin’s Blog

Although Garry Winogrand is mostly known for his black and white street photography, he also shot a considerable amount of color film (that not much people know about). Last year, Nick Turpin met with Joel Meyerowitz and was able to get an impressive collection of color photographs by Garry Winogrand.

Check out all the color photos by Winogrand he obtained here.

Portraits of Winogrand

Here are some nice portraits I was able to find online of Garry Winogrand:

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Photos from “1964”

These are some great photos from one of Winogrand’s books: “1964” which is sold-out everywhere.

See them here via Maciej Dakowitz on the HCSP Flickr Thread: “book – Winogrand 1964

Garry Winogrand – The Man in the Crowd

Just stumbled upon this nice little flip-through a rare Garry Winogrand book. You can see it here.

Garry Winogrand – Women Are Beautiful

A great slideshow of photos from Winogrand’s rare “Women Are Beautiful” book (and some great music):

Books by Garry Winogrand

Below are some of the books by Garry Winogrand. Unfortunately most of them are sold out everywhere, and it is difficult to find copies (that don’t cost an arm and a leg). But still, worth the investment in getting his books (or try to find them in your local library):

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

If you can buy one Winogrand book, it is this one. A great compilation of his life’s work.

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

One of my favorite books by him, and one of his best.

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

One of his most desirable books, but one of the most expensive and hard to find.

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

Another collector’s item – showcases rare color photographs by Winogrand

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

You can read a lovely review of the book by Richard Bram here.

1x1.trans 10 Things Garry Winogrand Can Teach You About Street Photography

Thanks to LisaOsta for mentioning this book for me to add by Winogrand!

Winogrand’s application to the Guggenheim Foundation

Thanks to weakmassive for putting together this transcription of one of Winogrand’s Guggenheim foundations. Fascinating for photographers who want to write grant proposals.:

Photography, photographers, photographs deal with facts.

I have been photographing the United States, trying by investigating photographically to learn who we are and how we feel, by seeing what we look like as history has been and is happening to us in this world.

Since World War II we have seen the spread of affluence, the move to the suburbs and the spreading of them, the massive shopping centers to serve them, cars for to and from. New schools, churches, and banks. And the growing need of tranquilizer peace, missile races, H bombs for overkill, war and peace tensions, and bomb shelter security. Economic automation problems, and since the Supreme Court decision to desegregate schools, we have the acceleration of civil liberties battle by Negroes.

I look at the pictures I have done up to now, and they make me feel that who we are and how we feel and what is to become of us just doesn’t matter. Our aspirations and successes have been cheap and petty. I read the newspapers, the columnists, some books, and I look at some magazines (our press). They all deal in illusions and fantasies. I can only conclude that we have lost ourselves, and that the bomb may finish the job permanently, and it just doesn’t matter, we have no loved life.

I cannot accept my conclusions, and so I must continue this photographic investigation further and deeper. This is my project.

And then a follow up on his progress…

Since receiving my grant, I have spent most of my time working on my project. I left New York in mid-June and returned late in the October. The time was spent driving through the country in a slow car photographing all the time. I got a tremendous amount of work done. A large amount of this work was done in Texas and California. I would estimate that I spent half my time in those two states. Since I returned to New York, I have been spending most of my time in the darkroom processing the results.

Further Reading on Garry Winogrand

Check out some of the links below to discover more about Winogrand:

Classes/Workshops with Winogrand:

Garry Winogrand videos (YouTube)

Upcoming Retrospective on Winogrand (2013-2015)

Thanks to Jason S Moore for mentioning this upcoming traveling retrospective on Winogrand’s work! It will be hosted by SF MOMA and the National Gallery of Art, and will include 200 photographs (half never printed before).

It will premiere in San Francisco, and travel to Washington DC, New York, Paris, and Madrid in 2013-2015.

  • Exhibition dates: March 09 May 31, 2013
  • Release date: April 17, 2012

More info about the exhibition here.

If you have anything else you would like to add about Garry Winogrand, please leave it in the comments below!

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If you want to conquer your fears and meet new peers, join me in Stockholm, Portland, San Francisco, Chicago, Toronto, NYC, Istanbul & More!

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  • http://dechiffre.me/ olivier

    Awesome post, thanks for this deep research! As I’m studying Cartier-Bresson’s work, I see a lot of similarities between them, but also a big difference.
    Roughly, would you agree to say that HCB and Winogrand represent two different “branches” of street photography, a sociological one vs a geometrical one? The first one would be more focused on people, the other on the frame, the painting. As you said, background and inspiration are a big part of what you are in street photography…
    What is even more interesting, is the consequences of this difference in what they each refer to as the decisive moment, as well as in the “form vs content” struggle. I don’t think HCB would have made a difference between form and content, since I guess, in his mind, form is the content !Anyway, beside teaching me a lot, this article gave me “matière à penser” ;-)

    • http://erickimphotography.com/blog Eric Kim

      Hey Olivier,

      It is interesting that Winogrand was a fan of HCB, and I would say he was similar in trying to find those “decisive moments” when shooting on the streets.

      However he was markedly different in getting (really close), shooting with a wide-angle (28mm), and being very obvious when shooting on the streets (HCB was much more stealthy).

      Winogrand’s photos (to me) are very sociological in nature, although I doubt he would have ever admitted it. HCB has lots of great geometric photos in terms of his composition, but remember he was also one of the first photojournalists and documented important happenings all around the world in China, India, America, and so forth.

      And yes, think that to HCB, the form was the content and vice versa moreso than Winogrand :)

      • http://dechiffre.me/ olivier

        I think that HCB, even as a photojournalist, had always in mind that he should take the picture as if he had to imagine it and draw it, like a painter.

        So the question of the background is really interesting too, since they both studied painting first…
        You’re right 28 vs 50 mm change the way you have to interact with people. So I guess I’ll rename my 28 mm lenses “Sociology” and my 50mm “Geometry” !! But thinking that the human vision is in between those two is kind of poetic…
        Anyway, Winogrand is such a great street photographers, thanks for sharing this constant source of inspiration !

        • http://erickimphotography.com/blog Eric Kim

          Fascinating approach and thoughts Olivier- might steal some ideas from you ;)

          • http://dechiffre.me/ olivier

            Ah ah Are you kidding me ? With all the things you give to this community, an all the things I’ve learnt on your blog ? Go on !

  • Peterstielzchen

    He eric very very good article, thank you so much!

  • ILPARM

    Excellent post, Eric. Garry Winogrand, the best street photographer that ever lived.

    • http://erickimphotography.com/blog Eric Kim

      Anytime Adrian – one of my favs too :)

  • http://twitter.com/TheHigham Brett Higham

    Pretty in-depth post on Winogrand. Lot of information in this one, feels like it might have benefited from being split up… Nice work. Look forward to your future posts….

    • http://erickimphotography.com/blog Eric Kim

      Thanks for the feedback Brett. Thought of splitting the article up, but wanted to keep all the info in one space. Thx!

  • iuri kothe

    great article eric!
    here’s an audio lecture of Winogrand at ICP 1979:

    http://lectures.icp.edu/audios/Winogrand1979.html

    • http://erickimphotography.com/blog Eric Kim

      Cheers will check out! :)

  • fabio

    excellent article!

  • Blake Andrews

    Hi Eric, Winogrand was indeed prolific. Probably the most prolific of anyone. But I think you’ve overestimated his shooting. The 100,00 negatives at CCP don’t equate to 3.6 million. They are only 100,000. Which is till quite a bit. Of course it’s hard to tell how much he shot exactly but I’d guess between 1 and 1.5 million negatives. 5 million is too much even for him.

    • http://erickimphotography.com/blog Eric Kim

      Thanks for the correction Blake- sure I screwed up on my math. Maybe will do some more research on this…

      • http://twitter.com/ZlatkoBatistich Zlatko Batistich

        You may be double-counting some of the photos. For the photos in his archive, the contact sheets were presumably made from negatives in the same archive. So you don’t count those contact sheets and negatives as separate photos. Also, a color slide is a single photo, not 36.

      • http://www.facebook.com/people/Paul-Donohoe/100000308877053 Paul Donohoe

        I think you made the point Eric. he was prolific…some people can get tied up on stats as you know from your line of work and study lol…it’s completely subjective..a lot for you is not for me or vice versa…

    • Damien

      Not sure about that. Given there are 20,000 contact sheets in the archive, the 100,000 negatives are quite likely to be 100,000 rolls, as if they were 100,000 images, that would only make them about 2,780 rolls. So, taking that into account, and ruling out Eric’s double counting, where he counted contact sheets and developed negatives as seperate images, as well as his miscount on the slides, I make it just under 4 million images, as per the math below.

      Still, all in all, a lot of images, making it about 100,000 images per year (if he shot for 36 years), or about 2,800 rolls a year/ 54 rolls a week.

      Math:

      2,500 undeveloped film = 90,000 photos
      6,500 developed (but not contact sheets) = 234,000 photos

      Total: 324,000

      (In Winogrand’s Archive)

      100,000 negatives = 3,600,000 photos
      30,500 color slides = 30,500 photos
      Total: 3,630,500

      => Total images: 3,954,500

      • http://erickimphotography.com/blog Eric Kim

        Thanks Damien- this sounds more accurate. Will make the appropriate edits soon!

  • Richard Bram

    It’s a good strong article, Eric. You’ve condensed a lot into it and gotten a lot from it as well. The quotes alone are worth it. There is always much to be learned from the life and work of the rare masters like Winogrand.

    • http://erickimphotography.com/blog Eric Kim

      Thanks for the love Richard. Tried to stick as closely to the what (I think) Winogrand intended through the classes his students took, and through his quotes.

      Also didn’t want to half-ass an article on winogrand ;)

  • Stephan

    Nice article and well documented with former students quote as well as Gary Winogrand’s own words which I find more important, more useful since coming from the source.
    There are fews points I would like to discuss. Sorry for the space I will take here.
    Regarding the tip of shooting a lot to get and/or to be assured to get memorable photographs to consider as keepers, I firstly think that it is indeed necessary not to lose your stride shooting on the streets and especially when willing to shoot live scenes, so shooting a lot is the way of keeping up our “strange” to others desire. But I prefer thinking that getting momentum and intentions combined, somewhat motivated by something (like internal moods and outward projections mirrored in the streets or a theme help more the act of shooting and getting these moments. To be atuned with your environment will help a lot in selecting or recognizing the moments, along with providence, luck.And speaking of moments…They are infinite and so present, even more when you confront yourself to the crowd, a big city life or a big event as the material for your photography. More, I think It is equally important to distinguish some moments to what I would dub photographic moments, i.e when knowledge about what makes a photography work takes over the life happening in the photographs, and when design is the subject of the photograph using people as element of that design. It is surely a slice of life involving people but they are “merely” tools for it to work successfully as a photograph. Nothing wrong with that. And nowadays I think that this end has a stronger edge than what Gary Winogrand pursued in his days of shooting mainly life. So when form supersedes the content. Sometimes I think it comes from the fact that we are so much wet, involved in looking at good recipes to make a good photographs that we act like good students but not necessarily capturing what We feel about the environment, so potentially more in position to overlook the emotional content, the latter not always being the subject pursued.
    As far as being emotionally detached for editing purposes and recognition of “real” memorable moments and thus keepers for our satisfaction and encouragement in our passion for street photography, my experience showed that most of the times, when tuned in and available for what’s happening around us, a good feeling after a shot or several for that matter during a day did turn out to be and memorable and keepers, not necessarily of the same nature. I do not say that good feeling would happen everytime (I have been often infuriated many times a period not feeling anything at all, hibernating somehow when I wanted some more happening photographically speaking, but with no avail, to the brink of breaking the camera itself filled and drowned with frustration), but not being available was the main problem along with the refusal to shoot something that looked like déjà vu in what I had previously shot and got. And there again being atuned with myself and to the surrounding made it possible to go back and seemore clearly. Not to forget that sometimes you might take a shot which you don’t understand first hand because it is so different from what you used to shoot, and which could be an accidental sketch of what you will find yourself shooting some months or even some years later. But I reckon that the digital age and its induced productive ability and tendancy, attitude regarding our photographic practice can blind us.
    I think I am done with the main response I felt sharing about your article. I feel empty at the moment so time is ripe to thank you for your work hoping that my token was constructive enough.

    Cheers Eric.

    Stephan

    • http://erickimphotography.com/blog Eric Kim

      Dear Stephan, your feedback is greatly appreciated. It helps me a lot in my writing (and my street photography) when other people give me such in-depth feedback. Lots of thinks for me to absorb from what you said, and thanks again for taking the time and energy for commenting :)

  • N.teerapenun

    Excellent good work.

  • Jason S Moore

    Nice write-up, Eric.

    All – stay tuned for a Winogrand retrospective hitting SF MOMA and (maybe) touring a city near you in 2013-2015 – and, hopefully, a book?

    http://www.sfmoma.org/about/press/press_exhibitions/releases/920

    • http://erickimphotography.com/blog Eric Kim

      Oh baby – will be there Jason! :)

  • LisaOsta

    Thanks Eric! Garry Winogrand is one of my favorite photographers along with Diane Arbus. You left out my favorite G.W. book “The Man in the Crowd”.

    • http://erickimphotography.com/blog Eric Kim

      Thanks for pointing that out Lisa- will add it.

      BTW found a nice flipthrough the book here :) http://vimeo.com/38365500

  • http://www.facebook.com/stephan.chan1 Stephan Chan

    Nice article

  • John Kim

    Even before I picked up a term “street photography”, Winogrand’s works fascinated me.
    Thanks for sharing your comprehensive article about Winogrand and his works. :)

    • http://erickimphotography.com/blog Eric Kim

      Anytime John :)

  • http://www.facebook.com/people/Stephen-Godfrey/726344523 Stephen Godfrey

    I don’t think anyone else can write another article about Winogrand now as I doubt it could be any better then this.

    • http://erickimphotography.com/blog Eric Kim

      Haha I’m sure there can! It will just take a while…

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  • http://www.facebook.com/gul.jung Gul Jung

    Thanks for your article, Eric!
    but
    I’m sticking to “Shoot. A lot!” for the moment untill I get better with my work. :p

    • http://erickimphotography.com/blog Eric Kim

      Anytime! And shooting a lot I feel is definitely the first step :)

    • angie497

      I figure “Shoot a lot, but be prepared to kill most of your children” is not a bad motto. Although it’s funny, it never fails that every photo outing is going to include what I thought was a throw-away snap at the time turns out to be one of the best photos of the day LOL

  • http://twitter.com/Gazonthestreet Gazonthestreet

    Stunning article Eric, your best yet!! So beautifully written and such in depth research. More please of other icons of street photography!! I can so relate to the point Garry and you make about not looking at the photos you take for a while. This photo that can be seen here http://500px.com/photo/11683477 I took on January 2nd but only finally posted it last week, when I viewed it again after 8 months and finally felt happy with the image and post processing. Back in January it didn’t look quite right but it was to fresh in my mind to see why.

    • http://erickimphotography.com/blog Eric Kim

      Sometimes you just gotta let the shots marinate ;) And yes – will be researching more icons of street photography moving forward!

  • Michael Meinhardt

    Very well researched piece, Eric. I learned a lot.

    Going through the Winogrand interviews myself (written and video) I realized that he shared a part of his personality with some of the other great street photographers I have seen interviewed.
    He seemed socially awkward to the point of being a dick. I see this behavior from Gilden, I see it from Bresson (to a lesser degree) and I even see it from some of the younger contemporary photographers. I will not be naming names, but you know them well. :)

    This may actually be a nice premise for an article on the personalities of great social photographers. Just an idea.

    • angie497

      Hmm, that *is* an interesting notion. I suspect that we’d find many (or most) of them are actually quite introverted. Street photography is a way to interact without the psychic drain of interaction.

  • http://twitter.com/e_Vener Ellis Vener

    Well done. You should talk to Jay Maisel some time as he and Garry were good friends.

    • http://erickimphotography.com/blog Eric Kim

      Will do! :)

  • Tim Cadman T.C.

    I left a comment before and it didn’t seem to stick so i’ll attempt again. Great article on Garry Winogrand very thorough and informative. Thanks for taking the time to put that together and share it, some really good advice here. Garry’s books are hard to come by and are very expensive but i’ve had the pleasure of checking some out for a week or two from my local library here in NY. Really appreciate what you do here Eric, Thanks!

    • http://erickimphotography.com/blog Eric Kim

      Cheers Tim. It took me a long time to write the article and research it (over 8 hours) but Winogrand is a photographer I wanted to do due justice to!

      And yes, his books are mostly collectors items now, but you’re lucky they’re at your local library! :)

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  • Luis Macedo

    Inspirational Work!
    Phenomenal article!

    It really resonates with my feelings towards Street Photography.
    Thank you very very much for sharing this priceless knowledge.
    It’s necessary to know and understand the past, to be better in the future.
    :-)

  • http://www.facebook.com/fabrizio.quagliuso Fabrizio Quagliuso

    Great article Eric. A lot of thought provoking passages and a collection of stunning photos (one of my favourites being the’streets kids pattycakes’ one). The part that resonated most with me is about the strive between form and and contents. It resonated a lot with me as I often consider this in my photography and it is very difficult to strike a good balance. Keep up the great work!

  • AVERY DANZIGER

    There seems to be a huge oversight in this article in that nowhere here
    is Tom Consilvio mentioned. I was a friend of Toms and briefly shared a
    darkroom with him and he was, for some time, both the film lab for all
    his negatives as well as his fine art printer. The beauty and impact of
    many of Gary’s “vintage” prints were because Tom had printed them.
    Gary was a difficult client, to say the least. I remember once when
    Gary came over and dumped a huge wad consisting of a spaghetti tangled
    mess that turned out to be a several rolls of negatives he wanted Tom to
    proof for him. He was shocked I was present and saw how he treated his
    negs and asked Tom to make sure no one was around when he was there
    with him in the future. Tom was one of the most amazing printers I have
    ever met and the eloquence and beauty of Gary’s prints was largely his
    responsibility. It seems common in the photography world that master
    printers are rarely credited and in many cases their fine work was
    actually attributed to the photographer, often by the photographer !
    This was especially true of another incredible fine art Ciba printer,
    Michael Wilder, whom I knew well, and who printed much of my own work
    until I could no longer afford his services and was forced into learning
    fine art printing…. Michael printed for many of the world’s most
    famous color photographers (as he still does) and I know of several
    incredibly well known photographers who either failed to credit Michael
    as their printer during an exhibition of their work or claimed his
    prints were actually printed by themselves.

    I have always wanted to curate an exhibition of famous photographer’s
    printers, like several traditional graphic printers have been honored,
    so that they could rightfully enjoy the prestige and notoriety of their
    clients.

  • From The North

    Hi Eric,

    A really nice article, plenty of good pictures and the I love the quotations. Hope you do more articles.

    Goja gae boji.

  • Daniel

    Thanks Erik. I love your site and it only gets better with time. It’s very inspiring. Aside from that, based on your youtube vlogs, you seem like an incredibly kind and engaging person.

    -Daniel (aspiring street-tog), New York

    • http://erickimphotography.com/blog Eric Kim

      Cheers Daniel – I hope to make this site a more helpful resource for all aspiring streettogs out there :)

  • Daniel

    The piece from the “Women are Beautiful” clip is Chopin’s Nocturne in E-flat, Opus 9, No.2

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  • http://www.facebook.com/fabrizio.quagliuso Fabrizio Quagliuso

    Fantastic and thought provoking post, Eric. Congratulations. A lot to think about and to absorbe from such a great master. One of the parts that resonates more with me is the quest of ‘form vs. contents’ a balance that is so difficult to strike!

    PS: Re-post of the comment as it looks like the original comment I wrote yesterday never got published…

  • Luke

    the image just above the pregnant woman hailing a cab is of the US Air Force Academy. I used to be one of the people marching right there where that shot was taken!

  • Phill Jenkins

    Great article Eric.
    I have posted a link in the Street Photography Now Community.

    Cheers

    Phill

    • http://erickimphotography.com/blog Eric Kim

      Thanks for the love Phill! :)

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  • http://twitter.com/canvas_photo canvas prints

    well done with the photos, the photography it totaly brilliant.

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  • http://www.facebook.com/people/Paul-Donohoe/100000308877053 Paul Donohoe

    an excellent all round piece on the man…a little too much focus on numbers of images for my taste, but i get the point. I also like his attitude of not hiding…no “stealth” god I hate that word..it’s for posiers and wannabes…not like this guy who was for real!!

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  • http://www.facebook.com/profile.php?id=1079828793 Keith Goldstein

    Great article! I met Garry around 1980 when I worked as a darkroom salesman in NYC in Camera Barn. He came in and bought a few hundred dollars worth of outdated paper to do contact sheets. Very nice guy. Had that Leica M4 around his neck.

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  • http://www.facebook.com/mbaylado Marion Paul S. Baylado

    Inspiring…

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  • joyce

    thank you

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  • DR.Max Zoloft

    Much of what he said about photography is bullshit.If you don;t understand what he is talking about it means he doest;t either.I mean,not wanting to see what you have photographed/He was simply a nervous neurotic wreck who couldn;t take his time to think before shooting.None of his shots covey any feeling or human emotions about life.

    He was good becasue he was in NYC where anyone can stand on a corner downtown and shoot off 50 rolls of film in a day and not care if he offends anyone and like a views,he took pictures of everything.And of course many will be great.It was his chutzpah that made him great but he was not a great artist.

    He shot without feeling anything.

    I wonder what his personal relationships were like.Probably not easy.

    • FootballFan*

      Terrible

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    Fascinating article. I’d heard of Winogrand but didn’t know anything about him.

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  • Steven W. Giovinco

    I’ve not completely digested this article since its a bit overwhelming, but i can tell that this is a thoroughly complete mini-treatise on Garry (I was a student of Garry’s protege, Tod Pappageorge at Yale).

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  • imagetracker

    is there a typo here, I’m not sure how 100,000 negatives = 3.6 million photographs, unless it was 100,00 rolls of 36 exposure film.

  • jann

    Thanks for all the work you put into your wonderful blog, Eric. Love it!

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    Always think that in any area of the arts, you get maybe ten percent of people who are creative,

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  • Tracymg

    There is a show at the National Gallery in Washington closing June 6, 2014. Sixty percent of the exhibits prints have never been seen prior to this exhibit. The accompanying companion book is a must-have.

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  • Jamessteeve

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  • jo

    I learned a lot from this article. Tx much :)
    Shree Vella Photography

  • sachi

    Great post. Lots of great photography info here! Tx :)

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  • Colin

    Garry Winogrand’s work was very inspirational when I began shooting again. His style made me realize I was in need of a wider lens to capture the energy I was looking for in my street shooting. Thanks Eric for all the great information you have collected on all these great photographers, I return to your blog whenever I want to break out of my regular habits.

  • Stephane

    Quoted material is very difficult to read, grey is very light, fail to pass the contrast test, (contrast ratio is 2.8:1 should be 4.5:1 !) Otherwise very interesting content. The Gary Winogrand exhibit in Paris was very cool.