New York City in 1961, *top,* and 1966, *above,* photographed by Garry Winogrand.

The White Sands National Monument, in New Mexico, 1964.

New York City circa 1960s, *top,* and 1967, *above.*

New York City in 1967, *top,* and 1966, *above.*

New York City, circa 1955–58, *top,* and 1967, *above.*

Los Angeles International Airport, 1964.

*Top,* Coney Island, circa 1952–58; *above,* Chet Baker at the Newport Jazz Festival, in Rhode Island, 1955.

*Top,* a self-portrait by Winogrand, taken in New York City circa 1955–58; *above,* New York City, 1967.

New York City in 1965, *top,* and circa 1960s, above.

*Top,* the Central Park Zoo, in New York City, 1967; *above,* New York City, circa 1960s.

Garry Winogrand in Color

A new book collects rarely seen color work by the master of postwar American street photography, from the bustling byways of Manhattan to the shaded underside of Coney Island’s boardwalk

By Tracy Doyle

When asked why he made pictures, the photographer Garry Winogrand had a trifecta of answers at the ready: “I photograph to see what the world looks like in photographs”; “to get outside of myself”; “for my own education.” These were not meant to deflect the question but rather to say that photography was so profoundly important to Winogrand, that the vocation of photographer was so inextricably linked to Winogrand’s very being, that he had difficulty articulating a verbal response, preferring to let his work speak on his behalf.

Born in the Bronx in 1928, Winogrand spawned work that reads like an inventory of American iconography: the visual cacophony of Midtown Manhattan; the white sands of New Mexico; state fairs and stadiums; zoos; cars; cowboys; ketchup—a richly hued spectrum of postwar American life.