winogrand

Look through an unedited roll from someone like Garry Winogrand and you'll feel much better.

You'll want to look into any of the street documentary greats: * Garry Winogrand - NYC/LA/Texas, considered by many to be the best.

This type of bullshit behavior makes it impossible for real photographers attempting to capture 21st century life the way Garry Winogrand might have impossible.

Adams was a pretty straight forward photographer, so I suspect his example might fare better than say a Winogrand or D'Agata, for example.

Also check winogrand and his new York output.

I'd argue that this started earlier, with the snapshot aesthetic pioneered by street photographers like Garry Winogrand and Daido Moriyama who often used wide <28mm lenses.

Frank was great but I prefer Winogrand for aesthetic.

Some of the aesthetic is captured in Winogrand's great photographic opus, "1964".

Winogrand's "Arrivals and Departures"[1] adds a different dimension --I guess it's reminiscent of the "jet-age" optimism.

If it were not possible, we would not have "street photography" we would not have Robert Frank, Cartier-Bresson, Winogrand, Meier or Arbus.

You talk about a cow jumping, you don’t know if it’s going up or down from the picture.” - Garry Winogrand Not implying that I agree, but through a very reductionist lens from one of the medium's greats, photographs are nothing more than light on a flat medium.

You know, the style of work made famous by artists like Robert Frank, Henri Cartier-Bresson, Robert Capa, Garry Winogrand...

This is why Garry Winogrand’s street photography looks so much more powerful than some random person’s photos walking around with a point and shoot.

This also reminds me of how 35mm street/photojournalists work (see, for example, Garry Winogrand, or Josef Koudelka, or Robert Frank).