source url From the Bronx to Dealey Plaza, Garry Winogrand ran around the street of America every day of his life photographing the most reluctant subjects and he left behind 6,500 undeveloped films when he died.
An influential new reflective makes sense of the surge of imagery by the prolific American master. “When I’m photographing I see life. That’s what I deal with,” Garry Winogrand once said. In the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has labored in his shadow ever since, so definitive are his photographs of New York.
watch Towards the end of his life, photographing became a kind of mania – he left behind 6,500 rolls of unprocessed film. Winogrand’s energy is so overpowering and his vision so democratic and wide-ranging that the curious visitor may find it hard to find a way into his work. There is always what might be called Winograndian logic to his compositions, an instinctive grasp of the geometry of a good photograph.
get paid to do homework for others Winogrand captured photographs within photographs, smaller narratives within the bigger picture. “I look at the pictures I have done up to now,” he once wrote, “and they make me feel that who we are and how we feel and what is to become of us just doesn’t matter”. He died in March 1984, one month after being diagnosed with cancer. This consistently enlightening retroactive makes beautiful sense of a disruptive life and the torrent of images it produced.