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"Well let me tell you something, mister. If I had her money, I’d be richer than she is. Because I’d keep my candy store. Old Sally Tomato — that’s my candy store! I’d always keep Sally."
Paul Graham discovered photography as an English college student in the nineteen-seventies, while studying microbiology at the University of Bristol. One afternoon, at the library, he came upon a bookshelf with American photography books by Walker Evans, Robert Frank, and Lee Friedlander. A couple years later, he walked into a bookshop and found a catalogue for Garry Winogrand’s “Public Relations.” Graham was impressed by Winogrand’s portraits of Manhattan in the late nineteen-sixties and early seventies, but he also thought, “Maybe I could do this.”
“I’m not a Winogrand expert,” Graham said the other day, outside the Winogrand retrospective at the Metropolitan Museum of Art. A slightly built man, with unspringy black curls and a youthful mien, Graham was wearing a plaid shirt, gray-blue sneakers, and a pair of Clark Kent glasses. “I don’t know how many wives he had. I’m just a fan. But I’m not a blind fan.” Graham, who won the prestigious Hasselblad Award in 2012, said that he took inspiration for “A Shimmer of Possibility,” his own study of American life, from Winogrand’s koan-like belief that “there is nothing as mysterious as a fact clearly described.”