Choose a famous or favourite piece of narrative poetry. Use this to develop a set of illustrative images that express the sentiment and actions within the poem. You’ll find this exercise easier if you choose a poem that gives you plenty to work with, for example Tennyson’s ‘The Lady of Shalott’.
Produce a set of three images that illustrate:
• the start
• the main story
• the end.
Type the poem out and use the images to illustrate it within your blog or learning log.
Choose your font with care. It’s important to choose a font that is visually appropriate not just anonymous.
Author: lindamayoux
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Exercise: Photography as Illustrative Art
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Loretta Lux
Loretta Lux specialises in photographs of children, often children of her friends, with the occasional adult or self-portrait. A former painter, Lux, 38, pays attention to form, shape and colour. “I don’t care about traditional photography I want more control.” The images, which can take up to a year to complete, are less about the subjects than they are a metaphor for the idea of childhood. “I want people to decide what to see,” she says. Whatever they do decide, they’re not likely to forget it.
Her portraits are carefully controlled at every stage of production:
- The formality of the poses she selects at the shooting stage, often using vintage outfits, including some of Lux’s own childhood things.
- Digital adjusted features: Elongated limbs, oversized heads, and eyes spaced just a little farther apart than average contribute to the strangeness of their cool gazes and isolated locations.
- Merging the subjects with their settings: she strips out the background and replaces it with a quiet setting–a grassy field, an abandoned building–either painted by Lux or taken from her photographs of various European landscapes and interiors. Then she erases any object that crowds the picture, like a tree or toy, so the child appears to be part of a dream.
- Using a narrow pastel palette in the final prints.
- The final images are produced as luminous Ilfochrome prints.
Loretta Lux was born in 1969 in Dresden, Germany. She studied painting at Akademie der Bildenden Künste, Munich from 1990 to 1996. She began photographing in 1999 and produces about half a dozen finished pictures each year. Solo exhibitions of her work have been held at Yossi Milo Gallery, New York; Hague Museum of Photography, The Hague; and Torch Gallery, Amsterdam. Her photographs have also been featured in exhibitions at the National Museum of Modern Art, Tokyo; Australian Centre for Photography, Sydney; Art Institute of Chicago; and at the Museum of Contemporary Photography in its 2006 exhibition In Sight. She is the recipient of a Bayerischer Kunstförderpreis (2002) and The International Centre of Photography’s Infinity Award for Art (2005).
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Anthony Luvera
Anthony Luvera is an Australian artist, writer and educator based in London. Anthony Luvera is interested in exploring some of the problems of documentary photography and photographic representations of social issues. Since 2001 he has worked on a series of long-term photographic projects with people who have experienced homelessness living in London. Through these projects, and the social relationships upon which they are based, Luvera explores the tension between authorship (and artistic control), and the ethics involved in making photographs about other people’s lives.
Residency
For sample photos see Luvera’s website
Residency features a series of photographs produced by the artist and individuals experiencing homelessness in Belfast, over a 16month period between 2006 and 2008. The series consists of large-format ‘Assisted Self-Portraits’, landscape images of Belfast and documentation of the working process through photographs and production Polaroids.
‘Anthony Luvera updates, remakes and agitates ideas of what is considered to be self portraiture. He shifts the inherent power balances inherit in portrait photography and shows that collaboration can create a much more empathetic approach to the act of photographing people. If that wasn’t enough he has also been able to build an archive of cities though the eyes of people who have difficulty fitting in. This project is a reminder that photography can still hold magical powers that empower and educate when in the right hands.‘
Residency also features an introductory text by the artist and essays by Anthony Downey and Colin Graham. Anthony Luvera describes his experience of working in Belfast and outlines some of the critical considerations underpinning his practice. Colin Graham reflects on the relationship between identity and attachment to place in post-conflict Northern Ireland. Anthony Downey examines the politics of the project, focusing on questions of ethics and representation.
Other projects
His photographic work has been exhibited widely in galleries, public spaces and festivals including the British Museum, London Underground’s Art on the Underground, National Portrait Gallery London, Belfast Exposed Photography, Australian Centre for Photography, Fotofreo and Les Rencontres D’Arles Photographie.
His writing appears regularly in a wide range of periodicals and peer-reviewed journals including Source, photographies and Hot Shoe International.
Luvera lectures on under-graduate and post-graduate degree courses in the photography, visual art and social sciences faculties for a number of institutions, including University of the Arts London Central Saint Martins College of Art and Design, London College of Communication, Sotheby’s Institute of Art, University for the Creative Arts Farnham and University College Falmouth.
He also facilitates workshops and gives lectures for the public education programmes of the National Portrait Gallery, the Photographers’ Gallery London and various community photography projects across the UK.
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Jim Goldberg
Jim Goldberg (born 1953) is an American photographer and writer whose work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream populations. Goldberg photographs sub-cultures, creating photo collages, and including text with his photographs, often written by his subjects.Goldberg is part of the social aims movement in photography, using a straightforward, cinéma vérité approach, based on a fundamentally narrative understanding of photography. Goldberg’s empathy and the uniqueness of the subjects emerge in his works, “forming a context within which the viewer may integrate the unthinkable into the concept of self. Thus diffused, this terrifying other is restored as a universal.” (Art Forum, Summer 1987) My only agenda,’ says the photographer Jim Goldberg, ‘is to bring attention to otherwise ignored and shunned lives.’ while picturing the grisly surroundings of the welfare population for his 1970s series Rich and Poor and developed with Raised by Wolves, when he documented teenagers living on the streets in San Francisco and LA. ‘I had a sense that their perceptions were not being observed and considered,’ he says, and so he began asking his subjects to annotate the pictures he took, ensuring his photographs existed as ‘thoughtful encounter, rather than knee-jerk reaction’. Goldberg is best known for his photographic books, multi-media exhibits and video installations, among them: Rich and Poor (1985) The book includes photographs of people in their homes along with handwritten comments by them about their lives. For example, the handwriting under the photograph reproduced on the front cover reads “I keep thinking where we went wrong. We have no one to talk to now, however, I will not allow this loneliness to destroy me,— I STILL HAVE MY DREAMS. I would like an elegant home, a loving husband and the wealth I am used to. Countess Vivianna de Bronville.” Although the book received one mixed review shortly after publication,[3] other reviews were positive, and it was later selected as one of the greatest photobooks of the 20th century. Nursing Home The photographs in a 1988 exhibition of Goldberg’s “The Nursing Home Series” were accompanied by handwritten text by the nursing home residents who were the subjects of the photographs Hospice Raised by Wolves (1995) See Vimeo A major mixed media exhibition by Goldberg concerning homeless children in California entitled “Raised by Wolves” began traveling in 1995 and was accompanied by a book. Goldberg made reference to other artists and photographers; used photographs, videos, objects, and texts to convey meaning; and “let his viewers feel, in some corner of their psyches, the lure of abject lowliness, the siren call of pain.” Open See (2009). Open See vimeo Open See, a study of refugee, trafficked and migrant populations fleeing wartorn and economically devastated homelands to forge a new life in Europe. It is a mix of Polaroids and large-format photographs featuring his signature use of handwritten comments, combined with archive snaps and drawings to form a multi-dimensional story. The project began as a Magnum commission for the Athens Olympics in 2004. Greece’s location on the south-eastern tip of Europe makes it one of the busiest transit hubs for illegal migrants, but Goldberg realised he had touched a seam stretching far further than he had imagined. The photographs and scrawled, smudged comments reveal the aspirations and fears of people who might otherwise remain faceless statistics. ‘All I want is a bed to sleep in,’ writes one. ‘I make one dollar a day,’ says another, ‘and I have despair.’ Three years in, he was awarded a grant from the Fondation Henri Cartier-Bresson, which enabled him to expand the assignment. Nominated for 2011 Deutsche Börse prizeBiography
Goldberg was raised in New Haven, Connecticut in a family of candy sellers. He took an aptitude test in high school that said he should do something in a field where he helped others. He went to college as a Theology major and ended up in photography when a schizophrenic Photo 1 teacher told him he had talent. Goldberg’s work was featured with that of Robert Adams and Joel Sternfeld in a 1984 exhibition at the Museum of Modern Art entitled “Three Americans”; the exhibition was described as “a show of politically charged and socially conscious images.” Goldberg is a Professor of Photography and Fine Arts at the California College of the Arts and has been a full member of the Magnum Photos agency since 2006. He lives and works in San Francisco. His fashion, editorial and advertising work has appeared in numerous publications including W, Details, Flaunt, The New York Times Magazine, Esquire, Rebel, GQ, The New Yorker, and Dazed and Confused. He is represented by Pace/MacGill Gallery in New York, the Stephen Wirtz Gallery in San Francisco, and Magnum Photos. —————————–Jim Goldberg (born 1953) is an American photographer and writer whose work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream populations. Goldberg photographs sub-cultures, creating photo collages, and including text with his photographs, often written by his subjects.Goldberg is part of the social aims movement in photography, using a straightforward, cinéma vérité approach, based on a fundamentally narrative understanding of photography. Goldberg’s empathy and the uniqueness of the subjects emerge in his works, “forming a context within which the viewer may integrate the unthinkable into the concept of self. Thus diffused, this terrifying other is restored as a universal.” (Art Forum, Summer 1987)
My only agenda,’ says the photographer Jim Goldberg, ‘is to bring attention to otherwise ignored and shunned lives.’ while picturing the grisly surroundings of the welfare population for his 1970s series Rich and Poor and developed with Raised by Wolves, when he documented teenagers living on the streets in San Francisco and LA. ‘I had a sense that their perceptions were not being observed and considered,’ he says, and so he began asking his subjects to annotate the pictures he took, ensuring his photographs existed as ‘thoughtful encounter, rather than knee-jerk reaction’.
Goldberg is best known for his photographic books, multi-media exhibits and video installations, among them:
Rich and Poor (1985) The book includes photographs of people in their homes along with handwritten comments by them about their lives. For example, the handwriting under the photograph reproduced on the front cover reads “I keep thinking where we went wrong. We have no one to talk to now, however, I will not allow this loneliness to destroy me,— I STILL HAVE MY DREAMS. I would like an elegant home, a loving husband and the wealth I am used to. Countess Vivianna de Bronville.” Although the book received one mixed review shortly after publication,[3] other reviews were positive, and it was later selected as one of the greatest photobooks of the 20th century.
Nursing Home The photographs in a 1988 exhibition of Goldberg’s “The Nursing Home Series” were accompanied by handwritten text by the nursing home residents who were the subjects of the photographs
Hospice
Raised by Wolves (1995)
A major mixed media exhibition by Goldberg concerning homeless children in California entitled “Raised by Wolves” began traveling in 1995 and was accompanied by a book. Goldberg made reference to other artists and photographers; used photographs, videos, objects, and texts to convey meaning; and “let his viewers feel, in some corner of their psyches, the lure of abject lowliness, the siren call of pain.”
Open See (2009).
Open See vimeo
Open See, a study of refugee, trafficked and migrant populations fleeing wartorn and economically devastated homelands to forge a new life in Europe. It is a mix of Polaroids and large-format photographs featuring his signature use of handwritten comments, combined with archive snaps and drawings to form a multi-dimensional story.
The project began as a Magnum commission for the Athens Olympics in 2004. Greece’s location on the south-eastern tip of Europe makes it one of the busiest transit hubs for illegal migrants, but Goldberg realised he had touched a seam stretching far further than he had imagined. The photographs and scrawled, smudged comments reveal the aspirations and fears of people who might otherwise remain faceless statistics. ‘All I want is a bed to sleep in,’ writes one. ‘I make one dollar a day,’ says another, ‘and I have despair.’
Three years in, he was awarded a grant from the Fondation Henri Cartier-Bresson, which enabled him to expand the assignment. Nominated for 2011 Deutsche Börse prize
Biography
Goldberg was raised in New Haven, Connecticut in a family of candy sellers. He took an aptitude test in high school that said he should do something in a field where he helped others. He went to college as a Theology major and ended up in photography when a schizophrenic Photo 1 teacher told him he had talent.
Goldberg’s work was featured with that of Robert Adams and Joel Sternfeld in a 1984 exhibition at the Museum of Modern Art entitled “Three Americans”; the exhibition was described as “a show of politically charged and socially conscious images.”
Goldberg is a Professor of Photography and Fine Arts at the California College of the Arts and has been a full member of the Magnum Photos agency since 2006. He lives and works in San Francisco. His fashion, editorial and advertising work has appeared in numerous publications including W, Details, Flaunt, The New York Times Magazine, Esquire, Rebel, GQ, The New Yorker, and Dazed and Confused. He is represented by Pace/MacGill Gallery in New York, the Stephen Wirtz Gallery in San Francisco, and Magnum Photos.
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Richard Billingham
Billingham was born in Birmingham in 1970 and studied as a painter at Bournville College of Art and the University of Sunderland. He came to prominence through his candid photography of his family in Cradley Heath, a body of work later added to and published in the acclaimed book Ray’s A Laugh (1996).
Ray’s a Laugh documents the life of his alcoholic father Ray, and obese, heavily-tattooed mother, Liz. It is a portrayal of the poverty and deprivation in which he grew up in Thatcher’s Britain. Billgham used a cheap low quality film and shot the images without caring about the composition; the result is a family portait stuffy and unconventional, characterised by a kind of lucidity which suggests both intellectual detachment and emotional closeness.The brash colours and bad focus which adds to the authenticity and frankness of the series.
I have not used any digital cameras as I still find them very difficult to use. They make me look at things with a different kind of attention I think. Digital cameras always have a screen on the back of them nowadays that enables you to see your photograph as soon as you’ve taken it and that distracts me. I end up looking at the picture I’ve just taken and trying to better it. And as soon as I start doing that, the ‘moment’ is lost.
He wasn’t initially concerned about photography when he was living with his father Ray. He was simply a would-be painter in need of a patient model:
“I was living in this tower block; there was just me and him. He was an alcoholic, he would lie in the bed, drink, get to sleep, wake up, get to sleep, didn’t know if it was day or night. But it was difficult to get him to stay still for more than say 20 minutes at a time so I thought that if I could take photographs of him that would act as source material for these paintings and then I could make more detailed paintings later on. So that’s how I first started taking photographs.”
“My dad had moved into my mum’s place by this time and I could not believe how it looked. She’d had two years away from my dad so she had created her own psychological space around herself that was very ‘carnivalesque’ and decorative. There were dolls, jigsaws everywhere. She’d got load of pets by this time; she had about ten cats … two, three dogs.”
It has been called ‘an honest portrait’, partly depressing and partly funny, of the photographer’s family, composed by Ray, the alcoholic and unemployed father, Liz, the obese and heavy smoking mother, by the brother Jason and several pets. Ray, his father, and his mother Liz, appear at first glance as grotesque figures, with the alcoholic father drunk on his home brew, and the mother, an obese chain smoker with an apparent fascination for nicknacks and jigsaw puzzles.They all share the same messy and crowded apartment and are struck during their daily routine, almost unaware that someone is photographing them. The thing that makes Billingham’s work diferent is the total lack of barriers towards the audience: the subjects are photographed while eating on the couch, while playing with pets, while making a jigsaw puzzle, but also in some occasions that usually remain private: for example while lying in bed or passed out on the bathroom floor for having drunk too much.
However, there is such integrity in this work that Ray and Liz ultimately shine through as troubled yet deeply human and touching personalities.
Billingham’s work was included in the exhibition Sensation at the Royal Academy of Art which showcased the art collection of Charles Saatchi and included many of the Young British Artists.] Also in 1997, Billingham won the Citigroup Photography Prize. He was shortlisted for the 2001 Turner Prize, for his solo show at the Ikon Gallery in Birmingham.
He has also made landscape photographs at places of personal significance around the Black Country, and more of these were commissioned in 2003 by the arts organisation The Public, resulting in a book. He has also experimented with video films and video projections.
In late 2006, Billingham exhibited a major new series of photographs and videos inspired by his memories of visiting Dudley Zoo as a child. The series, entitled “Zoo”, was commissioned by Birmingham-based arts organisation, VIVID and was exhibited at Compton Verney Art Gallery in Warwickshire.
In the following year he created a series of photographs of “Constable Country”, the area on the Essex / Suffolk border painted by John Constable. These were exhibited at the Town Hall Galleries, Ipswich. In 2009-2010, Billingham participated in a collective exhibition at the Kunstmuseum Wolfsburg, Germany titled: Ich, zweifellos.
He now lives near Swansea, and travels widely. He is a lecturer in Fine Art Photography at the University of Gloucestershire and a third year tutor at Middlesex University (2012).
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Mohamed Bourouissa
Emerging international artist, Mohamed Bourouissa arose to fame with a photographic series about the young people living in the suburbs of Paris. The way they were staged was reminiscent both of the news broadcasts and motifs from old masters like Gericault, Caravaggio or Vermeer. Using a wide variety of artistic practices, his work continues to strongly capture topics often put in the margin of society, like with his film Temps mort, an SMS dialogue between the artist and an inmate. Caught between poetry and realism, the scenarios imagined by Mohamed Bourouissa explore the social and economical problems at stake in the so-called inner cities while addressing the relationship between these populations and the figures of authority with a very personal empathy.
French artist MOHAMED BOUROUISSA produces photographs and videos that deal with the peripheral condition in a haunting, direct and thought-provoking manner.
Produced during the period of 2005 to 2008, the series Périphéries (pictures above) coincided with the aftermath of the 2005 riots in the eastern Parisian suburb of Clichy-sous-Bois, sparking the civil unrest and escalating racial tension that spread throughout the urban centers of France.
While each photograph presents a tense composition that simulates the vérité of photojournalistic work, BOUROUISSA‘s photographs are in actuality deftly staged, fictional depictions of the predominantly Arab and African communities that inhabit these geographically and socially peripheral areas. Aptly named after the Boulevard Périphérique, this series of photographs references the ring-road surrounding Paris that more so divides than connects, addressing the stigmatized communities that exist on the ‘other’ side of this physical and metaphorical barrier.
MOHAMED BOUROUISSA was born in 1978 in Blida, in Algeria. He now lives and works in Paris. After graduating in Visual Arts from the Sorbonne, Paris I (2004) and the photography department of the Ecole Nationale Supérieure des Arts Décoratifs de Paris, he trained at the Studio National des Arts – Le Fresnoy in 2008-2010. Since 2008, his work has been shown in France at the MAMVP/Palais de Tokyo in Paris, the New York New Museum of Contemporary Art (United States), the Finish Museum of Photography of Helsinki (Finland), the Central Farming Correios of Rio de Janeiro (Brazil), Yossi Milo Gallery (New York) or MAXXI in Rome among others.
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Manuel Rivera-Ortiz
Manuel Rivera-Ortiz (born 1968) is an American documentary photographer of Puerto Rican
descent. He was the eldest of 10 children from a poor family. His home was a tin shack and his
father worked in the fields chopping sugar cane by hand. Ortiz has devoted a lot of his time to
making sure that the world does not forget those in poverty. He could be described as a social
realist committed to bringing forgotten or ignored issues to the notice of society, for example
the plight of the Dalits, the untouchable caste in India, and the Aymara Bolivians who live on
the Altiplano – the High Plane. Ortiz has set up a foundation that supports under-represented
photographers, particularly from developing countries.Visit the Ortiz website for more images: www.rivera-ortiz.com
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Eric Kim
Eric Kim who works on the street using a wide
range of approaches. Before you have a go at shooting from the hip yourself, follow up these
two links for some expert advice:
http://erickimphotography.com/blog/2010/11/how-to-take-street-portraits-without-beingawkward/
www.youtube.com/watch?v=J9vI79uflMY -
Gary Winogrand
Garry Winogrand (1928–84) was a street photographer known for his portrayal of America in the mid-20th century. Many of his photographs addressed contemporary life and dealt with areas that society failed to recognise as issues – either politically or socially. He became one of the first modern street photographers, photographing the streets of New York in the early 1960s.
Winogrand grew up in the then predominantly Jewish working-class area of the Bronx, New York, where his father, Abraham, was a leather worker, and his mother, Bertha, made neckties for piecemeal work.
Winogrand studied painting at City College of New York and painting and photography at Columbia University in New York City in 1948. He also attended a photojournalism class taught by Alexey Brodovich at The New School for Social Research in New York City in 1951.
Winogrand worked as a commercial photographer between 1952 and 1954 at the Pix Photo Agency in Manhattan and from 1954 at Brackman Associates.
In 1955 two of Winogrand’s photos appeared in The Family of Man exhibition at the Museum of Modern Art (MoMA), New York. Winogrand’s first one-man show was held at Image Gallery in New York City in 1959. His first notable appearance was in Five Unrelated Photographers in 1963, also at MoMA in New York City, along with Minor White,George Krause, Jerome Liebling and Ken Heyman. In 1966 Winogrand exhibited at the George Eastman House in Rochester, New York with Lee Friedlander, Duane Michals,Bruce Davidson, and Danny Lyon in an exhibition entitled Toward a Social Landscape. In 1967 he participated in the New Documents show at MoMA in New York City with Diane Arbus and Lee Friedlander, curated by John Szarkowski. John Szarkowski, the Director of Photography at New York’s Museum of Modern Art, became an editor and reviewer of Winogrand’s work.
In 1964 Winogrand was awarded a Guggenheim Fellowship Award to travel through America. Some of the results of this work were shown in the New Documents exhibition. He was awarded his second Guggenheim Fellowship in 1969 to continue exploring media events and their effect on the public. Between 1969 and 1976 Winogrand shot about 700 rolls of film at public events, producing 6,500 eleven by fourteen inch prints for Tod Papageorge to select for the exhibition and book Public Relations. Winogrand received a National Endowment for the Arts Fellowship in 1975. In 1979 with his third Guggenheim Fellowship he moved to Los Angeles to document California. While in LA he developed 8522 rolls of film.
Between 1971 and 1972 Winogrand taught photography at the Institute of Design, Illinois Institute of Technology in Chicago and between 1973 and 1978 at the University of Texas in Austin.
In 1952 Winogrand married Adrienne Lubeau, separating in 1963 and divorcing in 1966, they had two children, Laurie and Ethan. Around 1967 Winogrand married his second wife Judy Teller, they were together until 1969. In 1972 he married Eileen Adele Hale, with whom he had a daughter, Melissa.
Winogrand died of gall bladder cancer, in 1984 at age 56.
At the time of his death there was discovered about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from about 3,000 rolls. Some of these images have been exhibited posthumously, and published by MoMA in the overview of his work Winogrand, Figments from the Real World.
Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. In the early 1960s Winogrand photographed on the streets of New York City alongside Joel Meyerowitz, Lee Friedlander, Tod Papageorge and Diane Arbus.
Technique
He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing.
His images, even when posed, had a feeling of ‘just happening to be there’. He chose to go where there was a lot of action; part of the crowd, he captured images very quickly, sometimes getting the camera to eye level and sometimes shooting before it got there, so that his subjects barelyrealised they were being photographed. He was influenced by Cartier-Bresson and the idea of seizing the decisive moment – even though the style is so different.
Quotations
“A photograph is the illusion of a literal description of how the camera ‘saw’ a piece of time and space.”
“Photography is not about the thing photographed. It is about how that thing looks photographed.”
“I photograph to see what the world looks like in photographs.”
“I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both.”
“I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.” (In reference to his book, “Women Are Beautiful.”)
“All things are photographable.”
“I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.”
Books
The Animals. 1969. Museum of Modern Art, New York. Winogrand’s photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals.
Women are Beautiful. 1975. Light Gallery / Farrar, Straus & Giroux. Public Relations. 1977. Museum of Modern Art, New York
Public Relations (1977) shows press conferences with deer-in-the-headlight writers and politicians, protesters beaten by cops, and museum parties frequented by the self-satisfied cultural glitterati. These photographs capture the evolution of a uniquely 20th and 21st century phenomenon, the event created to be documented.
Stock Photographs: The Fort Worth Fat Stock Show and Rodeo. 1980. Olympic Marketing Corp. Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo.