Monthly Archives: April 2011
Garry Winogrand | Interview, 1982

Excerpts from an interview with Bill Moyers in 1982.

When I’m photographing, I see life. That’s what I deal with. I don’t have pictures in my head. i frame in terms of what i want to include and naturally, when I want to snap the shutter. And i don’t worry about how the pictures going to look, i let that take care of itself. We know too much about how pictures look and should look. And you do you get around making those pictures again and again. Its one modus operandi, to frame in terms of what you want to have in the picture not about how to make a nice picture. That anybody can do.

-Garry Winogrand

Garry Winogrand, New York City, 1968 © The Estate of Garry Winogrand

Garry Winogrand, New York City, 1968 © The Estate of Garry Winogrand

 

Park Avenue, New York, Garry Winogrand, 1959 © The Estate of Garry Winogrand

Park Avenue, New York, Garry Winogrand, 1959 © The Estate of Garry Winogrand

World's Fair, New York, Garry Winogrand, New York City, 1964  © The Estate of Garry Winogrand

World's Fair, New York, Garry Winogrand, New York City, 1964 © The Estate of Garry Winogrand

 

I’m very subjective in what I photograph. When things move, I get interested, I know that much.

-Garry Winogrand

Peace Demonstration, Central Park, Garry Winogrand, 1970 © The Estate of Garry Winogrand

Peace Demonstration, Central Park, Garry Winogrand, 1970 © The Estate of Garry Winogrand

Austin, Texas, Garry Winogrand, 1974 © The Estate of Garry Winogrand

Austin, Texas, Garry Winogrand, 1974 © The Estate of Garry Winogrand

 

To make a photo more theatrical than the subject’s own theatricality is a hell of a problem.

-Garry Winogrand

© The Estate of Garry Winogrand

© The Estate of Garry Winogrand

Salt Lake City Municipal Airport, Utah, Garry Winogrand, Salt Lake City, 1964 © The Estate of Garry Winogrand

Salt Lake City Municipal Airport, Utah, Garry Winogrand, Salt Lake City, 1964 © The Estate of Garry Winogrand

Garry Winogrand, New York City, 1968 © The Estate of Garry Winogrand

Garry Winogrand, New York City, 1968 © The Estate of Garry Winogrand

 

I don’t have to have any storytelling responsibility to what I’m photographing. I have a responsibility to describe well. In fact, my photographs are mute, they don’t have any narrative ability at all. A piece of time and space is well described but not what is happening…[photographs] do not tell stories, they show you what something looks like to a camera.

-Garry Winogrand

Minneapolis, Garry Winogrand © The Estate of Garry Winogrand

Minneapolis, Garry Winogrand © The Estate of Garry Winogrand

 

The nature of the photographic process, it is about failure. Most everything I do doesn’t quite make it. the failures can be intelligent. Nothing ventured, nothing gained. Hpefully, you’re risking failing every time you make a frame.

-Garry Winogrand

eace Demonstration, Garry Winogrand, 1969 © The Estate of Garry Winogrand

eace Demonstration, Garry Winogrand, 1969 © The Estate of Garry Winogrand

 

I get into situations where there’s a lot of activity, more things can occur to me to try in those circumstances. Really, that’s what it’s all about.

-Garry Winogrand

Three Women, New York City, Garry Winogrand, 1969 © The Estate of Garry Winogrand

Three Women, New York City, Garry Winogrand, 1969 © The Estate of Garry Winogrand

Statue of Liberty Ferry, New York, Garry Winogrand, 1971 © The Estate of Garry Winogrand

Statue of Liberty Ferry, New York, Garry Winogrand, 1971 © The Estate of Garry Winogrand

 

It always fascinates me – it bolloxes my mind, I mean, when people talk about photographs in depth, and what not, you know, when all a photograph does is describe light on surface. That’s all there is. And that’s all we ever know about anybody. You know, what we see. I mean, I think we are our faces and whatever, you know? That’s all there is, is light on surface.

-Garry Winogrand

Untitled, 3 figures, Garry Winogrand, 1960 © The Estate of Garry Winogrand

Untitled, 3 figures, Garry Winogrand, 1960 © The Estate of Garry Winogrand

 

I am surprised that my prints sell. They’re not pretty, they’re not those kind of pictures that people easily put on their walls, they’re not that window onto a nice landscape or something. They aren’t.

-Garry Winogrand

Street Beggar Reaching Out to Receive a Donation, Garry Winogrand, 1968 © The Estate of Garry Winogrand

Street Beggar Reaching Out to Receive a Donation, Garry Winogrand, 1968 © The Estate of Garry Winogrand

 

I don’t have pictures in my head, you know. Look, I am stuck with my own psychology. With my own, uh, with me. So I’m sure that there’s some kind of thread, whatever, but I don’t have pictures in my head.

-Garry Winogrand

Central Park Zoo, Garry Winogrand, New York, 1967 © The Estate of Garry Winogrand

Central Park Zoo, Garry Winogrand, New York, 1967 © The Estate of Garry Winogrand

 

I don’t lay myself down on the couch to figure out why I’m a photographer and not this or that. Whatever it is, I can’t seem to do enough of it. It’s a pleasure.

-Garry Winogrand

New Mexico, Garry Winogrand, 1957 © The Estate of Garry Winogrand

New Mexico, Garry Winogrand, 1957 © The Estate of Garry Winogrand


Garry Winogrand | El Morocco Contact Sheet

Two full size prints from the El Morocco contact sheet, shot by Garry Winogrand sometime in 1955.

El Morocco, Garry Winogrand, 1955 © The Estate of Garry Winogrand

El Morocco, Garry Winogrand, 1955 © The Estate of Garry Winogrand

 

Couple Dancing at Club El Morocco, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

Couple Dancing at Club El Morocco, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

 

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

 

A couple of details from the contact sheet:

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand

El Morocco Contact Sheet, New York City, Garry Winogrand, 1955 © The Estate of Garry Winogrand


Egypt, Alexandria | Misc Images
Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X


Robert Frank | Paris New Year, 1949

…if one is sensitive, it has an effect on you. So maybe it’s better not to be sensitive as a photographer and just go on. Many photographers today have that but I never had that. I think it’s nice to be sensitive as a photographer and maybe it’s harder.

-Robert Frank

Paris New Year (Young Man with Tulip), 1949 © Robert Frank

Paris New Year (Young Man with Tulip), 1949 © Robert Frank


William Eggleston | Memphis (Tricycle)

A picture is what it is and I’ve never noticed that it helps to talk about them, or answer specific questions about them, much less volunteer information in words. It wouldn’t make any sense to explain them. Kind of diminishes them. People always want to know when something was taken, where it was taken, and, God knows, why it was taken. It gets really ridiculous. I mean, they’re right there, whatever they are.

-William Eggleston

Memphis (Tricycle), c.1969-1970 © William Eggleston

Memphis (Tricycle), c.1969-1970 © William Eggleston


Egypt, Alexandria | Muharram Bey
Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Muharram Bey, Alexandria, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X


Leica | M Body Viewfinder Framelines

An invaluable image I refer to all the time, this guide displays the framelines for different focal length lenses for rangefinder Leica M6 cameras with 0.58x, 0.72x and 0.85x viewfinder magnifications.

Leica M body framelines for 0.58X, 0.72X AND 0.85 viewfinders

Leica M body framelines for 0.58X, 0.72X AND 0.85 viewfinders


Egypt, Cairo | The Bakery

I was lost in a neighborhood in the eastern part of Cairo. I had entered this warren of tiny dirt floored alleys and was wandering and unable to find my way out. I started to walk down an dead end when I saw this boy bringing out freshly baked bread.

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

This bakery was old and deep inside this cavernous building, the maw of the oven casting an unbelievable amount of heat into the room. It was February and though the hottest part of the oven was deeply recessed, the heat it threw out hit like a laser. I could not imagine working there during the height of summer.

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

These flat circles of dough would be slid into the oven and after a minute on each side, it would turn into this pillow of bread, soft and flaky. I ate one hot, straight from the oven, the men and boys standing around and watching my reaction.

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Bread is a vital part of the daily life and routine of Egyptians that when the price of bread soared in 2008 as the economy was tanking, people rioted. Then President Mubarak ordered the military to open their bakeries to the public to appease the masses. There have been many bread riots in recent history but none as important and as far reaching as the Bread Riot of 1977.

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Cairo, Egypt, February 2011; Leica MP 0.58, 35mm Summicron, Kodak Tri-X