The New Yorker: How Garry Winogrand Transformed Street Photography

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telenous

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R.Brody on Garry Winogrand and street photography.

https://www.newyorker.com/culture/photo-booth/how-garry-winogrand-transformed-street-photography



...When he flung his Leica to his eye, he didn’t study framing through the lens but composed instantaneously, impulsively, improvisationally, as if he were making a kind of pictorial jazz, or what Jean-Luc Godard called “the definitive by chance.” By means of his process, by means of the invention of a process that’s an inspiration in itself, Winogrand created a body of work that’s also the work of the body...
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Quote:
...When he flung his Leica to his eye, he didn’t study framing through the lens but composed instantaneously, impulsively, improvisationally, as if he were making a kind of pictorial jazz, or what Jean-Luc Godard called “the definitive by chance.” By means of his process, by means of the invention of a process that’s an inspiration in itself, Winogrand created a body of work that’s also the work of the body...
Click to expand...

It is nice to see how Winogrand is making it in the press.


But this observation in the quote....
Of course Winogrand was framing it with precision often. He attended art school to learn how to frame it. And on videos it is clearly visible what he was spending sometime to frame it. And then on his pictures. I was studying it for months online via Arizona archive.

GW's framing was sometimes significantly shorter than average photog would take, but Winogrand is above the average, not only because he was educated and gifted, but because he was exercising the framing regularly, to say at least.
 
Thanks for sharing this. I see there are now many reviews online, which should make for some good reading. I'm hoping the film comes to the big screen in Chicago.

John
 
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