Garry Winogrand

Garry Winogrand Gary Winogrand started photography career with a friend who introduced photography career at Columbia University in 1948. After contacting the darkroom first, Winogrand gave up the picture "Never look back." Winogrand felt very popular in photography and nothing else was important in life. He quit school to pursue his passion. The average weekly income is 90 cents, and he has made a difficult and steady start. Since Winogrand does not care about issues affecting society, it does not always appeal to the masses.

In street photography, Garry Winogrand, Saul Leiter, Bruce Davidson, and countless photographers bring cameras wherever they are every day. They will continue shooting. It will be a photographer meeting with Garry Winogrand and will introduce ourselves as a photographer. He replied: "Where is your camera?" Winogrand believes you are not a photographer if you have never had a camera. The end of the story. I know what you are thinking. It is too easy to wait. Do I need to become a tortured soul? Do I have to walk around the world, use hallucinogens, face my devil, hit the bottom, and dig down my inner pain? Will this pain bring spark of creativity to me? Will the pain deepen my work?

Award-winning writer Geoff Dyer praised Winogrand's work for a long time. Based on John Szarkowski's classic "Atget", the street philosophy of Garry Winogrand is a collection of 100 photos carefully selected by the Winogrand Archive of the Creative Photography Center, each containing original articles. Through symbolic and invisible images of archives containing 18 unpublished color photographs, Dell made crowds / readers crazy and ingenious. This book covers most of Winogrand's themes and themes and is still widely faithful to the chronological and geographical facts of his life. . This unparalleled combination of photographers and writers, images and text, is itself a Dyer's claim to Winogrand photography - the view of education

Alongside the picture of one of my favorite photographers, Garry Winogrand (pictures of the 1964 New York World Exposition), I like the title of this book that depicts the six white women sitting on the bench. What is sitting on the left is a young black man talking to a white woman. The two men touched each other and soaked each other. Three girls in the center hugging and whispering, the other two girls are looking at the outside of the frame. On the right, a white old man is reading a newspaper. This is an attractive work, I like its sensitivity, comprehensiveness and beauty.