nimals but, again, his book did not succeed commercially. By combining both animals and people, he failed to reach the animal lovers, and those interested in people. Although The Animals did not sell it was noted as Winogrand’s most successful collection of work.By the early sixties, Winogrand discovered a innovative strategy for shooting with a wide angled lens. He developed a pictorial concept of using a wide angled lens as a hand camera, and put this idea to use on the streets of New York City. Primarily used for subjects at a vantagepoint, Gary began using the wide angled lens from a close viewpoint. The results captured the pedestrian’s entire figure from a perspective that the camera would normally be able to focus only on the face. He obtained a new and compelling image that contained not only the whole subject, but also a new angle. He shot the subject from above with the shoes included, and the face appearing to be shot from either straight ahead or below. Winogrand achieved this by tilting the camera at a forty-five degree angle, and focusing it on his subject’s navel. This nova caused all images of architecture and structure to become warped and exaggerated. Using a wide angled-lens allowed Winogrand to intensify the meaning and significance of his photographs.Winogrand had his first museum showing at the Museum of Modern Art in New York City, in 1963. He, along with five other photographers, exhibited forty-five pictures in a show called Five Unrelated Photographers. Only a few years later, Winogrand decided to devote himself to teaching photography in a full time position at Chicago’s Institute of Design. At this time, he received a fellowship from the Guggenheim Museum to compose a cultural and political exhibit entitled The Effect of Media on Events. He proved that “life is more interesting than the theories that purport to explain it” (33). Winogrand remained teaching until...
