As we are constructing our own reading list for level 3 I thought I would try and include books by practitioners as well as academics. The advice of the people who actually do photography for a living should be an important part of the course.
I had not heard of Dan Winters but his book attracted a lot of positive comments. It was interesting to see the results of the commercials practice he has established, from the initial b&w shots at the beginning of the book. Winters realised fairly early on he would need to understand complex lighting scenarios and nearly always works with flash and large crews in complex sets built especially for the shoot. When considering the tradition of using available light in documentary photography as a truthful rendition of the scene, he recalls W. Eugene Smith’s insistence that “available light” was any light that was available to him at the time (Winters, 2014:133).
Nevertheless what really comes across in the book is his fascination for the medium, and his continuous experimentation on projects aside from his commercial work. Again he quotes W. Eugene Smith: “Never have I found the limits of the photographic potential … Always I am on the threshold” (Winters, 2014:130). This is something I have noticed about many of the most successful professional photographers (see for example https://photo515050level3.wordpress.com/2022/06/07/photo-london-2022/). Hence he is “practicing” almost continuously, and although you would not think an experienced professional would need to Winters stresses this, also saying “Robert Frank compared this to a boxer in training. I find I’m sharpest when I’m shooting on a regular basis” (Winters, 2014:32). The same has been noted, for example about Koudelka – stories of him wondering off mid-assignment to practice on quiet days to keep his eye in. “Art is language, and its fluency, though never fully achieved, is dependent upon diligent practice” (Winters, 2014:401).
Other similarities with Koudelka came with a quote from George Eliot: “Adventure is not outside man; it is within” (Winters, 2014:29). I noticed the importance of the photographer’s spirit when looking at his work for the Documentary course: (https://documentary515050.wordpress.com/2021/01/21/3-gypsies-the-roma-journeys/).
His first bits of advice, however, were more to do with state of mind, extolling an almost zen-like calm which he associates with the still image:
- “The world owes a great debt to all those who have, from a state of exceptional awareness, preserved stillness for us to hold” (Winters, 2014:intro)
- “I learned to be still while shooting – watching moments methodically with a precision I hadn’t know before” (Winters, 2014:32)
- “Regardless of the assignment, there’s always a great picture to be made … it is basically noticing that which you are noticing” (Winters, 2014:35)
- “It’s the stillness of the photograph, not it’s beauty, that is responsible for its resounding voice” (Winters, 2014:60)
With this stillness comes a necessary acceptance that not everything can be captured: “I now find peace in the realisation that countless potential masterpieces happen each moment the world over and go unphotographed” (Winters, 2014:intro). Winters move to medium format from 35mm was key to his “still” approach. Later on, commenting on Street Photography, he quotes Julio Cortázar’s Blow Up “when one is walking about with a camera, one has almost the duty to be attentive” (Winters, 2014:560).
As I discussed recently for my final assignment in Documentary (https://documentary515050.wordpress.com/2022/01/06/5-harvest-home-revised/), playing the role of the photographer is important (particularly if you have doubts!): “I began to call myself a photographer. ‘I am’ is incredibly empowering”. (Winters, 2014:32)
Much of Winters’ commercial work appears to be celebrity portraiture of actors and musicians – at least the work he shows in the book. Despite his often complicated set ups, he stresses the importance of simplicity and how it is not about the equipment. “The real trick to lighting is to establish intent” (Winters, p. 273). Perhaps his best bit of advice: “When trying to make a connection with another person, I find it most effective to listen rather than speak” (Winters, 2014:137). He uses the gentler term “portrait session” rather than “photo shoot”, and explains the process carefully to the sitter, including the aim of the shoot and what is expected of them. He listens to the sitters, allowing them to express concerns or contribute ideas, but feels it is important to direct them rather than passing on the responsibility of generating material to them. An interesting direction he gives, for example, is “find quiet”.
“Of course there will always be those who look only at technique, who ask “how”, while those of a more curious nature will ask “why”. Personally, I have always preferred inspiration to information.” Man Ray (Winters, 2014:400).
I greatly admire the cinematic look that Winters achieves, which is especially appropriate to actors. It could be argued that at times it appears a little over-contrived. This might be as a result of combining stillness with cinema, creating effectively a movie still off set. Everything is motivated but with out the motion in the picture to help convey the narrative, there is nowhere for that intent to go and the potential energy can be excessive for the viewer?
Even when not obviously working on portraiture, he will photograph people relevant to an event to flesh out the narrative, particularly when working as a post-photographer when conditions on the ground may not express the situation adequately. “The very best way to send an idea is to wrap it up in a person” .
Winters is also known, however, to be observant of how objects signify people, sometimes choosing to photograph these still lives to represent those of his sitters, or at least as additional material to create a rounder character portrait. For example, Mr. Rogers red cardigan:
He has also used this approach to record objects from the space missions for NASA. However I feel this work very much works against his early comment that “The information contained within the frame was all that was relevant to the photograph” – the fascination with many photos, and particularly these personal object images, is surely to think outside the box? Indeed this is the point of his story of the context of the famous photograph of General Loan executing his Captain ? in the Vietnam street – the prisoner was known for many attrocities including beheading people, gunning down policemen and killing the family of Loan’s friend. Bringing “colour” to this shocking black and white image does not condone the act, but it does balance the effect of the image on the viewer.
On constructing sets, Winters early interest in model building and carpentry skills are definite advantages, although as mentioned above he now usually has a team that constructs them for him in advance. So preparation is very important. The less shoot time available, the more prop time is required. He will light the photographer in advance of the sitter. “When a subject arrives on the stage and sees the amount of effort expended on their behalf, they will rise to the occasion” (Winters, 2014:257?).
Having said all of which, he stresses the need to “be receptive to and actively seek out a plan B” (Winters, 2014:231). This is where the stillness and the listening come in. On his portrait of Natalie Portman: “This session was a good exercise in being present – in looking at what I was presented with, and discarding my preconceived ideas” (Winters, 2014:341).
Some of his advice relates to dealing with the end client, obviously an important part of the job. He gives the simple comment from Greg Heisler as one of the greatest single pieces of wisdom he has received: “Look at the subject at hand and the expectations of the client and give an appropriate response photographically” (Winters, 2014:62). This does not mean suppressing the artist within the photographer – remember that the client will have hired the photographer with reference to their body of work. “Don’t second guess what clients want … my client will expect that their needs are met thought I always attempt to make the image I generate for them my own” (Winters, 2014:129).
A clear influence on Winters is Irving Penn, seen for example in his picture of Ryan Gosling – I love the fact that given a single, simple prop of a chair to sit on, Gosling has chosen instead to conquer it:
For a number of his portraits I’ve noticed he does not use an even backlight (which I have often spent a long time trying to get right) preferring more of a vignette effect (as above with Gosling, although obviously this is not actually a backlight).
Sometimes when working with actors he has allowed them to work through different emotions while he keeps shooting (Anthony Hopkins, Christopher Walken). This is a good way of allowing the subject to express themselves while creating many options for the final image.
Another aspect of his approach is that he makes it a habit “to approach every picture as though it were my last” (Winters, 2014:240). And “as always it is my intention to create a lasting document, an image for the permanent record” (Winters, 2014:293). The idea that you are not just snapping off a few shots but that the image matters and stands for your work is an important lesson in creating good work.
LIST OF ILLUSTRATIONS
- Winters, D. (2011). Helen Mirren, Los Angeles January 11 2007. At: https://www.artsy.net/artwork/dan-winters-helen-mirren-los-angeles-january-11 (Accessed 9.6.2022)
- Winters, D. (1998) Fred Rogers’ Sweater – Pittsburgh, PA – Esquire Magazine. At: https://www.danwintersphoto.com/PEOPLE/OVERVIEW/55 (Accessed 9.6.2022)
- Winters, D. (2017) Ryan Gosling for Wired. At: https://independent-photo.com/news/dan-winters/ (Accessed 9.6.2022)
BIBLIOGRAPHY
- Winters, D. (2014) Road to Seeing. Indianapolis: New Riders
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