The Art of Street Photography

Magnum Photos

The New Yorker: How Garry Winogrand transformed street photography

The New Yorker

Richard Brody in The New Yorker, profiles Garry Winogrand, one of the all-time greats of street photography, and the impact his work had.

“Hang Em High,” New York, 1968.Photograph by Garry Winogrand ©
Protest, date unknown.Photograph by Garry Winogrand © 
Garry Winogrand: All Things Are Photographable

Winogrand famously died, leaving thousands of rolls of undeveloped film.

Every digigraph tells a story, here’s mine

I take a lot of digital photographs or as I like to call them digigraphs. I create them exclusively with my iPhone and the vast array of apps it supports.

I distinguish these images from the direct photochemical connection to reality that is photography because I think, while they share a vast array of similarities, there is something unique about the images generated in this way.

The digital image is infinitely malleable, giving it a deeply subjective relationship with reality. The mobile computer/camera allows us all to capture and shape our perception of the world and distribute that vision through social networks.

I would not have started creating these images if not for my iPhone. It is always with me, ubiquitous, allowing me to capture candid moments without the intrusion brought by traditional equipment.

I shoot almost every day, usually walking the streets while trying to keep the sun at my back. I rarely have the camera at eye level, preferring instead to hold it low while keeping a tangental eye on the screen. I cut the earbuds off the supplied headphones to make a digital shutter release so I can capture a scene with a click of the volume button.

I distribute these images across several platforms, first to my digigrah stream LessBeauty // MoreBrains then to Instagram, EyeEm and most recently AMPt Community.

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