Cours sur la photo numérique Photographe américain né en 1928 New York City et mort en 1984 au Mexique. Il appartient à la famille des "street photographers", déambulant en rue, l’appareil toujours chargé et en main. Il donne au genre quelques images fameuses, d’une netteté implacable, aux contrastes forts, exercices sans cesse renouvelés de faire image avec l’accident constant de la foule et de la rencontre. Winogrand étudie la peinture à la fin des années 40’, puis commence le journalisme à la "New School for Social Research" avec Alexey Brodovitch. Il découvre le travail de Walker Evans en 1952, celui de Robert Frank quelques années plus tard. C’est en 1959, après des années de galère, que son travail est montré pour la première fois. L’influence de Walker Evans est grande sur son travail. “je fais des photographies pour savoir de quoi auront l’air les choses une fois photographiées." - Winogrand Les tirages sont nets et contrastés, donnant aux images un aspect graphique et une grande présence à l’image.
Saul Leiter “To say that he flourishes at the top in the Mount Olympus of New York photography is saying a great deal. He is right up there with the amazing heights of photographic history itself. He’s more abstract than many, he’s more constructive than several but he’s also more soulful than a great many.” Max Kozloff (Art Historian) Saul Leiter’s ground-breaking work in photography and painting is only now receiving the international recognition it deserves. Leiter’s earliest black and white photographs show an extraordinary affinity for the medium, and by 1948 he began to experiment in color. Leiter has made an enormous and unique contribution to street photography. Martin Harrison, editor and author of Saul Leiter Early Color, writes, “Leiter’s sensibility…placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein.
L’homme qui aimait (regarder) les femmes (Garry Winogrand) – Amateur d'art En espagnol Je laisse à d’autres le soin de débattre à propos des tirages posthumes de Garry Winogrand au Jeu de Paume (jusqu’au 8 février) : quand un photographe néglige de tirer ses photographies, voire même de développer ses pellicules, remettant cela à plus tard, et qu’une mort soudaine le ravit, avons-nous ou non le droit de montrer ces photographies orphelines ? C’est le cas d’environ 40% des photographies montrées ici, des « images demandant à être vues ». Beau débat éthico-artistique, certes, mais que je ne vais pas aborder ici : qu’est-ce que l’œuvre ? Je note simplement que, dans l’exposition, dans le catalogue (excellent !) Cette exposition a une grande ambition, mais le visiteur (moi en tout cas) va à son encontre. Thème essentiel certes, mais pas thème unique. Toutes ses photos de femmes ou presque sont tragiques. « Toutes les fois que j’ai vu une jolie femme, j’ai tout fait pour la photographier. Mais on trouve aussi chez Winogrand des femmes joyeuses, sereines, solaires.
Henri Cartier-Bresson Garry Winogrand Garry Winogrand was born in New York City and became interested in photography while serving in the military as a weather forecaster. He studied painting at City College (1947-48) and at Columbia University (1948-51), where he learned how to develop and print. In 1951 he studied photography with Alexey Brodovitch at the New School for Social Research. Afterward he worked commercially for photography agencies, freelanced for magazines, and also did personal work. Handy et al. Edouard de Blaÿ - Paris Garry Winogrand - The First "Digital Photographer" Shooting Film — about photography blog In the 50s and 60s He worked as a freelance advertising photographer and photojournalist but later on rejected magazines and move solely to the world of art. The First mention about his published work is from 1955 when he had two of his photographs at The Family of Man exhibition at the Museum of Modern art in NY, which was a big exhibition bringing together hundreds of images from all over the world. In the form of a photo essay the exhibition celebrated universal aspects of the human experience. “Well what is a photograph? Even though we can now say he was a street photojournalist and street photographer, Garry himself hated that label, his first book was actually called The Animals. Even in environments like this there are always possibilities to create art while doing common activities like taking children to the zoo. “The world isn't tidy; it's a mess.
Animal Kingdom – Les photographies en double exposition d’Andreas Lie La série Animal Kingdom de la photographe et graphic-designer Andreas Lie, qui mélange animaux et paysages dans de magnifiques compositions en double exposition. Je vous recommande aussi Wisdom, les superbes portraits en double exposition de Brandon Kidwell. Images © Andreas Lie / via 5 Garry Winogrand Street Photography Composition Lessons Dear friends, I want to analyze some compositions I really like from Garry Winogrand; and share how we can better incorporate more edgy compositions into our own work: Download ZIP with JPEG IMAGES > 1. Boy alone on the far left, evenly spaced boys on the far right, leaning over to him: This is seriously one of the most epic composition photos I’ve seen: Note the out of focus dogs in the foreground (pink): Abstracted, to see all the shapes and forms: 2. Simple depth photo: 3. All the elements pointing or looking at different directions; adding a lot of dynamic pulling in the frame in different directions! 4. Very simple yet effective: put something in the foreground (like the hood of a car) and fill the frame with it– to block out the distractions, to focus on the other stuff in the frame (like the man in cyan): 5. From Winogrand’s “Public Relations” project– note the ‘behind the scenes’ context of these press events– to just show how manufactured/silly it is: Learn more about Garry Winogrand:
Julien Mauve - After Lights Out After Lights Out2013 After Lights Out traite de l'omniprésence de la lumière dans nos sociétés contemporaines et dépeint un univers alternatif dans lequel celle-ci aurait disparu. Chaque photo présente des manifestations lumineuses isolées prenant des formes énigmatiques, voir ésotériques, rappelant les paysages nocturnes de Robert Adams. "La nuit n’existe plus. Matthias Jambon-Puillet One might say this is landscape work and entitle it "Variations on a Nightscape". In each of these lived-in landscapes, for each of these rigorously situated buildings, a light is scouring the depths, a light that has not yet been turned off or that has already been lit. This really is the "subject" of photography, its punctum, which denotes the wounding, personally touching detail which establishes a direct relationship with the object or person within it. "Anxiety and the danger of shadows mixed in with safety and well-being" Christian Caujolle
10 Things Garry Winogrand Can Teach You About Street Photography - ERIC KIM (Above image: Garry Winogrand, World’s Fair, New York City, 1964. All photographs in this article copyrighted by the estate of Garry Winogrand) Garry Winogrand is one of my favorite street photographers that I have gained much photographic insight and wisdom from. He was in-arguably one of the most prolific street photographers of his time (he shot over 5 million photographs in his career) and one of the most passionate. I never understood a lot of the things that he said about photography like why you should wait a year or two before developing your shots, why photographs don’t tell stories, and how photographers mistake emotion for what makes great photographs. After having done a ton of research on Winogrand and finding out more about his philosophy in photography, I found a treasure chest. If you want to learn more about what you can learn from Garry Winogrand, read on! 1. Garry Winogrand shot a lot of photographs. I have always shot a lot in street photography. 2. 3. 4. 5. As O.C.