photographer Garry Winogrand

集 [scraps] 2012. 8. 22. 08:05

아래 글을 올린 것이 2009년 12월 11일. 그러니까 이 당시만해도 street photography란 용어나 개념도

내겐 익숙하지 않던 때였다. 그 이후로 2010년 가을에 처음 street photography에대한 인식을 하고

뉴욕에 가서 사진을 찍어보기 시작한 것이 2010년 10월 이었던 걸로 기억한다.

그러니까 이제 이 추가 글을 작성하게 된 시점(2012년 8월 21일)으로 따지면

나름의 멋진 street photography 를 해보겠노라고 생각하고 사진을 찍기 시작한지 2년이 다 되어가는 셈이다.

Eric Kim의 블로그에서 Garry Winogrand에 관하여 상당히 폭넓게 정리해 놓은 글(여기 클릭)을 읽고

2년도 전에 올렸던 내 글을 다시 찾아보았다.

우선 추가하는 자료로서

[1] Coffee and Workprints: A Workshop With Garry Winogrand
Two weeks with a master of street photography that changed my life

By Mason Resnick

http://www.photogs.com/bwworld/winogrand.html

[2] Garry Winogrand unseen colour

http://www.sevensevennine.com/?p=2438

[3] Class Time with Gary Winogrand by O.C. Garza

http://www.ocgarzaphotography.com/documents/ClassTimewithGarryWinograndfinal3.pdf

[4] Rare Interview with Gary Winogrand

by Steve Simon

http://www.oreillynet.com/digitalmedia/blog/2007/03/rare_interview_with_gary_winog.html

[5] Garry Winogrand captured by Mason Resnick

http://www.photogs.com/1970s/scans/9.html

사진을 끊임 없이 찍으면서 피사체가 된 사람들이 무슨 일이냐고 묻는 질문에 하는 대답이 걸작.

"You know, I am surviving! :)"

이라고 말하면서 능청스럽게 웃는 모습이 Gary Winogrand의 매력이 아닐까 싶다.

개인적으로 노출계가 있지 않은 Leica M4를 사기로 결정했던 것도 사실은 이 끊임없이 셔터를 눌러 대는

Gary Winogrand의 M4의 모습을 보면서 그만큼 기계적인 내구성에 믿음이 갔기 때문이다. 그리고 노출계도

없이 마치 분신처럼 카메라를 다루는 그의 모습을 통해서 그리고 그가 말하는 사진 철학이 마음에 들어서

더욱 마음에 담고있었던 카메라였다. 그가 생전에 쓰던 마지막 M4 카메라의 모습을 보면 그가 얼마나

카메라를 '혹사'시켰는지 알 수 있다.

http://www.cameraquest.com/LeicaM4G.htm

그가 주로 사진을 많이 찍던 60년대에 M4가 나왔으니 사실상 새 카메라를 사서 썼다고 봐야할 듯 하다.

"I photograph to find out what something will look like photographed."

- Garry Winogrand (1928-1984)
:implying a process which is its own rationale with an inherent cognitive dimension. The act is itself the work; the craft is itself the meaning.

프로 사진 작가들도 사진을 담을 때, 어떤 생각을 할지 궁금하기도 하다.

단지 몇 장의 사진을 보고도 마음에 들어버린 게리 위노그랜드의 뉴욕 거리 사진들을 보면

그 또한 사진 찍기전의 마음속에 그려내는 이미지대로 찍는 행위에 만족하지 않고

촬영 한 사진 속 대상에서 발견해내는 일에대해서도 호기심을 가졌던 사람이 아닐까

생각해봤다. 특히나 격동의 60년대 미국을 살면서 사회의 일들에 자신의 생각을

결부시키고 미국인들의 행동에 동참한 작가로 알고 있다. 그의 주제는 거리의 사람들,

여성, 동물등의 다양한 대상을 사회적 의미와 결부시켰다.

그는 <뉴욕 동물원,Bronx Zoo> 를 기획하면서 3년을 하루도 거르지 않고 찍은 필름만 해도

2천 롤이 넘었다고 한다. 내가 사진 찍는 흉내를 내게된다면, 이 사람의 발자취와 비슷하게

나아가지 않을까 싶은 그런 사진 작가이다. 완벽한 프린트로 유명했던 Ansel Adams같은

세기의 사진 작가들도 있지만, 내 개인적으로는 Garry WinoGrand의 사진들에 더 친근감을

갖게되고 더 강렬하게 나에게 다가온다.

Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico) was a street photographer known for his portrayal of America in the mid 20th century.

Winogrand studied painting at City College of New York and painting and photography at Columbia University in New York City in 1948. He also attended a photojournalism class taught by Alexey Brodovich at The New School for Social Research in New York City in 1951. Winogrand made his first notable appearance in 1963 at an exhibition at the Museum of Modern Art (MoMA) in New York City. This show included Minor White, George Krause, Jerome Liebling and Ken Heyman.

In 1966 Winogrand exhibited at the George Eastman House in Rochester, New York with Lee Friedlander(리 프리드랜더는 위노그랜드와 함께 60년대 현대 사진의 주자로 불린다.), Duane Michals, Bruce Davidson, and Danny Lyon in an exhibition entitled Toward a Social Landscape. In 1967 he participated in the New Documents show at MoMA with Diane Arbus and Lee Friedlander. During his career, he received three Guggenheim Fellowship Awards (1964, 1969, and 1979) and a National Endowment of the Arts Award in 1979. Winogrand also taught photography courses at the University of Texas at Austin and at the Art Institute of Chicago.

Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different.

Winogrand was known for his portrayal of American life in the early 1960s, Many of his photographs depict the social issues of his time day and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. While the style has been much imitated, Winogrand's eye, his visual style, and his wit, are unique.

Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals. (1969) a collection of pictures that observe the connections between humans and animals. His book Public Relations (1977) shows press conferences with deer-in-the-headlight writers and politicians, protesters beaten by cops, and wild museum parties frequented by the self-satisfied cultural glitterati. These photographs capture the evolution of a uniquely 20th and 21st century phenomenon, the event created to be documented, in Winogrand's style -- a unique conversation between the photographer and his subject. The tilted camera, the frame filled with twitchy, restless motion and agitated faces, come together to represent an authentic and original response to the evolving culture of public relations. In Stock Photographs 1980, Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo.

Winogrand died of gall bladder cancer, in 1984 at age 56. As evidence of his prolific nature, Winogrand left behind nearly 300,000 unedited images, and more than 2,500 undeveloped rolls of film. Some of these images have been exhibited posthumously and published in an exhibit catalog entitled Winogrand, Figments from the Real World, published by MoMA.

[source : http://en.wikipedia.org/wiki/Garry_Winogrand ]

Quote's

" A photograph is the illusion of a literal description of how the camera 'saw' a piece of time and space."

"Photography is not about the thing photographed. It is about how that thing looks photographed."

"I photograph to see what the world looks like in photographs."

"I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both."

"I don't know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs." (In reference to his book, "Women are Beautiful.")

"There is nothing as mysterious as a fact clearly described."

"All things are photographable."

"I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.

Books

Cover of Garry Winogrand's book, Figments from the Real World.

The Animals (1969)
Women are Beautiful (1975)
Public Relations (1977)
Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980)
The Man in the Crowd: The Uneasy Streets of Garry Winogrand (1998)
The Game of Photography (2001)
Winogrand, Garry; Wilner Stack, Trudy (2002). Winogrand 1964. Arena Editions. ISBN 1-892041-62-6. (This book has color photographs).
Winogrand, Garry; Harris, Alex, Friedlander, Lee (2002). Arrivals & Departures: The Airport Pictures of Garry Winogrand. Charles Rivers. ISBN 1-891024-47-7.
Winogrand, Garry; Szarkowski, John (2003). Figments from the Real World. New York: Museum of Modern Art. ISBN 0-87070-635-7.