Q. o’ th’ D.: Buzz Spector

“I know in negotiating any social situation, I use my language, I use my wit, I use my empathy. I can’t talk my materials, the materials of my studio, I can’t talk them into anything. I have to deal with the material conditions of art from a negotiation of a body to a substance, and there’s something perfectly efficient about that when it works. And there’s no one to blame but myself when it doesn’t.”

Garry Winogrand, Speaking Plainly

From a 1977 interview published in Afterimage.


Q: Do you think that photography can be taught at all? In a school?

Garry Winogrand: You can discuss it; you don’t create photographers, if that’s what you’re asking.  Is there a school that’s responsible for the creation of a photographer- or any artist?  Come on.  No.  Out of the question.  I don’t care whether you’re talking about graduate students or undergraduate students. I’m in an art department, so I’m talking about photography, I’m talking about painting, sculpture– there isn’t anybody who I would bet a nickel on, that two years out of school they’re going to be doing anything they’ve been studying.

Q: People doing anything, or anything interesting?

Winogrand:  Well, doing anything related to what they’re doing in school.  The fact is that during your time you’re in school your life is designed for you to do the work.  That’s what school’s about.  When you get out of school, nobody gives a shit.  You’ve got to make a living, you may even have a kid to feed– who the hell knows?  Nobody cares whether you make a picture or not. So, it ends up you, your own passions, for the thing that are going to be tested.

Tod Papageorge


“Taking so many pictures taught me a lot, even unconsciously, about being out in the world and using a camera to make pictures.  It also taught me a lot about different picture forms, and the use of space.  Many students today are completely ignorant about that, so the pictures are generally something plopped in the center of the frame and digitally printed to 40×50.  I shouldn’t castigate the students, but it turns up in the galleries too, and it’s just not very interesting; it’s not very satisfying as a visual experience.”

(As is often the case at http://mpdrolet.tumblr.com -ed.)

“Maybe it’s simply a case of finding a number of interestingly tormented people.  Garry Winogrand, Robert Frank, Diane Arbus, Lee Friedlander – they were all lunatics.”


John Pfahl



“At that time there was a lot of conceptual art around which was documented by photographic means, but generally without any formal or even photographic interest. Nothing was there but the idea, and it was preferably shown in its most minimal form — as a poorly lighted, exposed, and printed black and white photo. You could not get lost in the print itself; you were always confronted with the idea.



“I always felt that one of the basic beauties of the medium of photography was that there could be many levels of interpretation; a certain richness of multiple meanings. That is where I veered away from conceptual art. My photographs exist completely as photographs, with all the complexity intact, not merely as illustrations of literal concepts. I like to consider them more as formal experiments dealing with the properties, history, and aesthetics of photography and concept of illusion, beauty, and landscape.”


The Estenopeico’s Decalogue, According to Fefo

1) Un estenopeico,no compra cámaras, se las hace.

2) A un estenopeico, generalmente le regala una cámara, otro estenopeico.

3) Un estenopeico si eventualmente, tiene que comprar una cámara, será estenopeica.

4) A un estenopeico, déjalo libre, porque en el espacio de la libertad, es donde mejor esta.

5) Nunca le preguntes a un estenopeico cuantas cámaras tiene (no tiene idea de cuantas tiene…. o tendrá).

6) Un estenopeico, no se olvida una cámara en un poste, está haciendo una solarigrafia.

7) Para un estenopeico, todas las fotos estenopeicas están buenas o muy buenas o impresionantemente buenas.

8) Para un estenopeico, solo dos o tres fotos estenopeicas, son malas, pero algo de bueno seguro tienen.

9) A un estenopeico lo entiende, otro estenopeico mucho, alguna persona más, otras no lo entienden.

10) Un estenopeico, no compite, comparte.


1) A pinhole photographer doesn’t buy cameras, he makes them.

2) A pinhole photographer usually gives a camera to another pinhole photographer.

3) If a pinhole photographer eventually has to buy camera, it will be a pinhole camera.


4) Let a pinhole photographer go free, because freedom of space is better for this.

5) Never ask a pinhole photographer how many cameras he has. He has no idea how many he has (or will have).

6) A pinhole photographer won’t forget a camera on a pole; he’s doing a solargraph.

7) For a pinhole photographer, most pinhole photos are good. Or very good. Or really, really good.

8) For a pinhole photographer, only two or three pinhole photos are bad (they gotta have some).

9) One pinhole photographer understands another pinhole photographer very well; others just don’t understand.

10) A pinhole photographer doesn’t not compete, he shares.

W. o’ W.: Ned Rorem


“Anyone can express himself. The important thing is whittling it down. The mere fact of whittling is for effect. Everything is for effect.”


The Curse of Proofreadingitis

Who’s in with us, to set up a meeting with this person purely as a sting? It would cost nothing…