Far far away land

Carpe Diem

Noel Gomes

It’s like photographs. They’ve always fascinated me. You see a still photograph of some man or other, with a caption underneath. He was a coward perhaps, or pretty smart. But at that precise instant when the photograph was taken, no one can say what he actually is, and what he was thinking exactly… - Pierrot Le Fou

Cinema is the most beautiful fraud in the world

Jean-Luc Godard (via richardlinklaters)

He who jumps into the void owes no explanation to those who stand and watch.

Jean Luc Godard (via eyelovelisa)

Assignment #2- September 16th on the Gary Winogrand Exhibit at the Met 


Answer the questions

How does the photographic work of Gary Winogrand, as seen in this exhibit, represent the “two worlds” that Cartier-Bresson speaks of in the above quote?

The photographic work of Gary Winogrand normally shows emotional human, social life, and relationship. In his…


Gary Winogrand

The “Two Worlds” relate to Winogrand because in order for the world to become one and bring about its message, one needs to conceptualize the idea of oneself as an individual in the world and apply it to bring about the execution of this message through photography; as Winogrand did. I believe that Winogrand understood his connection to the real world because he himself was from the working class. He understood the struggle and the hard work that came from everyday life. His photography depicts social issues of his time because he himself was part of the issue. He connected with the world by finding himself and with that inevitably changing the world around him. We cannot simply equate what makes a memorable street photography down to a mathematical equation, but my point is in order to take memorable street photographs, we need to subject ourselves to more decision moments. Generally that is increased by spending more time shooting on the streets, and shooting a lot. It goes to show that Winogrand photography was directly influenced by his active lifestyle, which immersed him into crowds to capture the moment. I think one thing that we can learn from Winogrand is to follow our instincts and our guts, and go for our shots. If a person is too far away, we should both run (or walk) to them and go for the shot. If we think that they may get upset for us taking the shot, we should put away those assumptions and go for the shot anyways. If we are concerned of offending people, take the shot anyways. Disregard yourself from trivial concerns and just go for the shot. Winogrand tells us about his portrayal of American life in the early 1960s. I feel he divided his interest in portraying life as it happened with a combination of the social injustices of the times.


1954-59, vintage silver print 


Josef Sudek: Nabrezi embankment, ca. 1922


Josef Sudek: Sunday afternoon on Kolin island, 1924


Josef Sudek

Detail wtih Baroque Wing, 1951-53

From Josef Sudek (Fototorst)

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