Garry Winogrand

Garry Winogrand (1928-1984) was a photographer (known for his portrayal of America in the 1960s and ’70s), born in New York City.  He became part of the new era of "snapshots", where it wasn't about how beautiful the photograph was, it was about capturing the odd ends and quirks of everyday life.  His style reminds me of Frank's The Americans.  
After reading a bit about him, it makes me wonder if I should devote as much time on one shot as he had done.  Growing up I always thought the best photographers would just skip around with their camera and take a couple of shots and that would be it.  Obviously that's not the case.  I've learned that I can't just spend one or two hours a week and expect extraordinary results. Winogrand probably had his Leica 24/7! I envy how he (and other photographers at the time) were able to take shots of strangers.  There's something so strange yet familiar with his photographs. It seems like he was aggressive and determined (2,500 undeveloped rolls of film when he died).  Reminds me of the opposite of Edward Weston- where Weston was all about complete tonality and right exposure, and Winogrand just seemed unconcerned with that type of stuff yet retaining a sense of composition.

 

Ralph Eugene Meatyard

Ralph Eugene Meatyard (1925–1972) was an American photographer who lived in Lexington, Kentucky. Most of his work consisted of dark imagery.

There's an appeal to his nostalgic small black-and-white photographs which reach out in a dark moody emotional way.  He know how to use his camera technically (long exposures, etc.)  I love how he around the time when "moody dark emotional" photography became popular with pop culture.  His work had that "gothic" style before such a thing.

It intrigues me how he uses the juxtaposition of the surreal/disturbing with the realm of the everyday life. A lot of his shots with children remind me of parents taking everyday pictures of their children except things aren't ordinary and life isn't what it seems.

Meatyard knew his camera very well- he was able to use it as more of a tool for making art rather than just simple snapshots.  I don't believe he would walk right up and take the photos, he probably spent time on the exposures, composition, and the creativeness. (for example- using abandoned farmhouses and neglected buildings added more to the dark tone he was aiming for.

William Eggleston

Born July 27 1989 Memphis Tennessee where he currently lives, Eggleston has acquired a collection of quirky bright contrasted images that remind me of a 50s era.   He was doing what everyone now wants to do- artistic snapshots, a certain quality of the colors and compositions, which can make pointless images interesting...  Harry Lunn published his first portfolio called "14 pictures" in 1974 and Eggleston received a Guggenheim Fellowship. In 1975 he also received a National Endowment for the Arts Photographer's Fellowship. He also photographed the set of John Huston's film Annie and was commissioned to photograph the mansion of Elvis Presley, Hollywood Studios and Coca Cola.

The character to his photos can have a haunting lonely feel.  His use of color, even the bright ones, can leave me a bit depressed.  It very evident Eggleston created a unique process and style when using color film. But now it seem like everyone now want's that "artistic snapshot" aesthetic.  I mean there's nothing wrong with that (even I fine myself trying to do the same thing) but Eggleston had his own process and way of doing things.  Now what we do is use an app on our phone (instamatic) to try to achieve that.  Pixels don't compare to his dye-transfer prints.

Stephen Shore

Stephen Shore is an American photographer known for his images of common scenes and objects in the United States, and for his use of color in art photography.
His book, Uncommon Places,  helped pave the way for Color photography seen as art in the modern era.

Stephen Shore
Room 110, Holiday Inn, Brainerd, MI, July 11, 1973


This scene immediately draws my attention since it's all to familiar image in my mind.  The furniture and everything shows that it is from a different time.  Wood paneling is something we don't see very often either.  Either way it makes think about the countless people that have been in that room. Families, friends, and maybe enemies too. I imagine myself sitting on that chair with a cigarette (even though I don't really smoke) and a highball glass... pondering my next move. To me at least it makes it a very powerful photograph when I start imagining myself in it. 

John Pfahl

John Pfahl- born February 17, 1939 in New York- Better known for his "Altered Landscapes" series (1974).  Received his BFA from Syracuse University in the School of Art and his MA from Syracuse University in the School of Communications.  Has appeared in many group and solo exhibitions over the years.

This photograph reminds me of a 2D project that I once did. It dealt with actual texture and simulated texture.  In some sense I see this photo that way.  The ocean waves and foam are the actual thing and the fabric and green plants are the simulated part.  Both have the same distinct color characteristics.  The sand add a unique warm contrast to the photo, not over-powering but strong enough to have some distinction.  Obviously he has carefully composed this and planned out like all his other photographs.

Joel Meyerowitz

Joel Meyerowitz- Born in 1938 in New York City, the award-winning artist made a push in the 1960's with use of modern color photography. He graduated from Ohio State University in 1959 with a degree in painting and medical illustration. Uses mostly a 8x10 large format camera to produce his images.

 This photograph draws my attentions with it's use of color and contrast.  Also how everything is in focus.  It has somewhat of a symmetrical look to it though there are notable differences on either side.  It shows how dated the photograph is, since the car must have been from the late sixties to the seventies.   But overall I feel the red car weighs down image successfully along with the two neutral colored houses on both sides, creating an appealing image compositionally.