When I was researching the Winogrand archives in Tucson this spring (1, 2, 3) I noticed there were many shots from the upstairs window of this apartment building. There was a street sign visible, which marked the intersection. If the sign has moved in the last 25 years (entirely possible), than this isn’t the building at all, and it’s the one across the street.
Decreasing the creepitude, Winogrand’s first contact sheets from the 50s begin with shots taken out of the window of his apartment in the Bronx. There are rolls and rolls of street scenes taken from a third-story window. The photographs are a preview of what’s to come. It’s as if he couldn’t keep his head inside the building; he knew everything was more interesting on the street.
It’s curious how near the end of his life, slowed by illness, Winogrand’s contact sheets are populated by a similar vantage point.
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?
- Context for Papageorge “American Sports” Outtakes in HBO Documentary