And later, we again get... "Despite his poor, almost non-existent, editing..." Hhmmm... That's not what I heard, at least not from the mouth of Tod Papageorge at SFMOMA the other eve. In fact, he remarked that Winogrand "wasn't one to miss a photo in the editing process," very much describing how he went through his negatives like a detective with a fine tooth comb. On another occasion he went on to state that Winogrand had said that a particular group of photos that he had just edited "were crying out to be published." The Guardian article leaves one with the overall impression that his lack of editing skills was in fact, his over all style, the way this fast shooting, fast talking Bronx native just happened to roll.
Perhaps his failure to actively edit (I'm assuming in his latter years in LA) had more to do with his health or deteriorating mindset than actual personal preference. Above is the blurred photo (alluded to previously) that dons the back cover of the current SOMA catalogue. There certainly is the raw subject matter for a dramatic photo there (or a hackneyed cliche), but that's as far as that particular image goes. Your average photo student would catch hell for not getting his ass outta the car and getting the shot this scenario cries out for. As Winogrand himself would've done in his earlier, healthier years (as evidenced below)...
In this iconic Winogrand photo, he was out photographing with Papageorge when Tod raced ahead and arrived at the scene first, only to be literally pushed aside after taking a frame by none other than you know who- who immediately proceeded to take the simultaneously humorous and provocative photograph we now remember that single handedly pushes more buttons, asks more questions, and raises anxiety and discomfort levels well beyond any host of great art collections that "push the edge" anywhere.
Perhaps his failure to actively edit (I'm assuming in his latter years in LA) had more to do with his health or deteriorating mindset than actual personal preference. Above is the blurred photo (alluded to previously) that dons the back cover of the current SOMA catalogue. There certainly is the raw subject matter for a dramatic photo there (or a hackneyed cliche), but that's as far as that particular image goes. Your average photo student would catch hell for not getting his ass outta the car and getting the shot this scenario cries out for. As Winogrand himself would've done in his earlier, healthier years (as evidenced below)...
In this iconic Winogrand photo, he was out photographing with Papageorge when Tod raced ahead and arrived at the scene first, only to be literally pushed aside after taking a frame by none other than you know who- who immediately proceeded to take the simultaneously humorous and provocative photograph we now remember that single handedly pushes more buttons, asks more questions, and raises anxiety and discomfort levels well beyond any host of great art collections that "push the edge" anywhere.
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