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Lee Friedlander, born in 1934 in Aberdeen, Washington, began photographing the American social landscape in 1948.\u00a0 His photographs bring to the surface the juxtapositions of everyday life that comprise our modern world.\u00a0 The awkward, offhanded \u201csnapshot\u201d quality of his work disguises its considerable sophistication.\u00a0 Beyond the vigorous outward eye he turns to the world around him, Friedlander is also recognized for an investigation of self he began in the 1960\u2019s, reproduced in Lee Friedlander: Self Portrait.\u00a0 Many additional monographs on Friedlander\u2019s work exist, among them, Like a One-Eyed Cat, Nudes, Lee Friedlander Photographs, Letter From the People, and The Desert Seen.\u00a0 Friedlander was awarded a Guggenheim Fellowships in 1960 and 1962 and an NEA individual fellowship in 1972.\u00a0 His work can be found in most of the major photographic collections internationally, including the Museum of Modern Art, The Metropolitain Museum of Art, and the George Eastman House.<\/p>\n
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JPC<\/strong> What was it about photography that interested you enough to devote a lifetime to it?<\/p>\nLF<\/strong>\u00a0 Everything.<\/p>\nJPC<\/strong>\u00a0 Confirmation? Immediacy? Directness?<\/p>\nLF<\/strong>\u00a0 Directness. The fact that anything that has light on it can be exposed and becomes information. Unlike any other medium, you get the tree or the forest all at once. That is pretty amazing.<\/p>\nJPC<\/strong>\u00a0 It is! I like it because it\u2019s a ticket to go out into the world and look, to look a little more closely than I ordinarily would, every waking minute.<\/p>\nLF<\/strong>\u00a0 You can\u2019t make a picture in New York or Los Angeles without being there.\u00a0 You have to be there.<\/p>\nJPC<\/strong>\u00a0 This can be a very interesting idea. I think the truth value that we ascribe to the photographic document rests with the witness rather than the medium.\u00a0 Now, with new technologies, we are able to make photographs that don\u2019t involve human witness\u2014footage shot remotely off of robots, satellites, or missles.<\/p>\nLF<\/strong> Yeah, but it was still witnessed by the camera.<\/p>\nJPC<\/strong>\u00a0 Can a camera be a witness?<\/p>\nLF<\/strong>\u00a0 Why not?<\/p>\nJPC<\/strong>\u00a0 Well, I wonder if the camera can give us anything more than raw data as opposed to processed information. No meaning has been drawn out of a situation, consciously, without a witness. Rather than using the camera to confirm our experience, we might then be forced to go out and verify the camera\u2019s experience. In our legal system a great deal of emphasis is placed on witnesses in addition to data. The type of document that a photojournalist or straight photographer includes implicit statements. I have seen this. Or at the very least, I have been there.<\/p>\nLF<\/strong>\u00a0 Photographs also show the way that the camera sees. It\u2019s not just me or you or anybody else. The camera does something that is different from our own setting. I don\u2019t know about you, but whenever I get a new camera, it might take years before it and I are really in tune.<\/p>\nJPC<\/strong>\u00a0 That\u2019s a great point. It may be one of the reasons many photographers like to strip their equipment down to a single lens and camera. They learn to see the way it sees and use that to better portray the way they see.<\/p>\nLF<\/strong>\u00a0 If I am used to the camera and I know a scene, I know where to stop and look, because I am used to what it shows.<\/p>\nJPC<\/strong>\u00a0 And if you put another camera in your hands you would find a different place?<\/p>\nLF<\/strong>\u00a0 Yes. I never understood carrying four lenses and changing them all the time. That would drive me crazy.<\/p>\nJPC<\/strong>\u00a0 I like zoom lenses, they offer the versatility of more than one lens in a lens.<\/p>\nLF<\/strong>\u00a0 That would be even worse.<\/p>\nJPC<\/strong>\u00a0 You think?<\/p>\nLF<\/strong>\u00a0 For me it would be.<\/p>\nJPC<\/strong>\u00a0 I like the arrangement. If I\u2019m standing on the edge of a cliff or with my back up against a wall, I don\u2019t have to move to frame an image.\u00a0 But keeping it simple works best for you right now?<\/p>\nLF<\/strong>\u00a0 Yes.<\/p>\nJPC<\/strong>\u00a0 Always has?<\/p>\nLF<\/strong>\u00a0 Yes.<\/p>\nJPC<\/strong>\u00a0 You once wrote, \u201cThe camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue.\u201d<\/p>\nLF<\/strong>\u00a0 It does sound right doesn\u2019t it?<\/p>\nJPC<\/strong>\u00a0 It does.\u00a0 Do you think we get a reflection of what is our there, in here, or both?<\/p>\nLF<\/strong> I try to forget that one.\u00a0 It is part of learning how to jump over a hoop I suppose.\u00a0 I find that I don\u2019t think much about photographing.<\/p>\nJPC<\/strong> Before, during or afterwards?<\/p>\nLF<\/strong> When I am making photographs.\u00a0 It\u2019s just a physical reaction.<\/p>\nJPC<\/strong>\u00a0 I can appreciate that this might help side-step conventional ways of thinking and the concerns of ego.<\/p>\nLF<\/strong>\u00a0 Richard Benson said that if an idea bit me in the ass I still wouldn\u2019t be able to recognize what it was.<\/p>\nJPC<\/strong>\u00a0 Until after the fact?<\/p>\nLF<\/strong>\u00a0 Not even that.<\/p>\nJPC<\/strong>\u00a0 You\u2019ve had plenty of ideas spread out over a long career.<\/p>\nLF<\/strong>\u00a0 Anything that looks like an idea is probably just something that has accumulated, like dust. It looks like I have ideas because I do books that are all on the same subject.\u00a0 That is just because the pictures have piled up on that subject. Finally I realize that I am really interested in it. The pictures make me realize that I am interested in something.<\/p>\nJPC<\/strong>\u00a0 I like to let the work tell me what it is about and vicariously what I am about. It\u2019s important to do the work spontaneously first, isn\u2019t it?<\/p>\nLF<\/strong>\u00a0 As I say, I hardly ever think about doing work. I think about going somewhere that might interest me.<\/p>\nJPC<\/strong>\u00a0 I wanted to talk about self-portraiture. You\u2019ve done some very interesting work in this vein. While photography can represent the way we see, it can also show us how we look. The photograph can be a mirror. What do you find particularly interesting about self-portraiture?<\/p>\nLF<\/strong>\u00a0 I was curious what I looked like in certain situations. I\u2019m also curious what the photographs are going to look like, because you are not standing behind the viewfinder. One of the things that is curious is, are you able to do it?\u00a0 Are you going to hit the bull\u2019s eye? It\u2019s quite strange that it works. I once read about a Zen archer that looked at a rabbit running, turned his back, fired an arrow, and hit the rabbit. I suspect a little of that is true with photography.<\/p>\nJPC<\/strong>\u00a0 I think you\u2019re right. That gets right back to the not thinking about the process while you engage in it. You just get in the way of yourself after all that practice. There may be a lot of thinking before and afterwards, but thinking about while you are doing it may produce problems.<\/p>\nLF<\/strong>\u00a0 I am not a big thinker. It keeps me out of mischief. Or it is the only mischief that I have.<\/p>\nJPC<\/strong> The self-portrait is very telling about both the photographer and photography itself. Give two people the same equipment and perhaps the same vantage point and it\u2019s likely that they will come back with two different pictures.<\/p>\nLF<\/strong>\u00a0 Clearly.<\/p>\nJPC<\/strong>\u00a0 By turning the lens back on us, we highlight the subjective nature of photography. We can point the lens inward at the same time that we point it outward. Do you think that is true?<\/p>\nLF<\/strong>\u00a0 You can probably make me believe it.<\/p>\nJPC<\/strong>\u00a0 Many of your self-portraits turn the camera not just toward your body but also toward the residues that your body has on the surrounding environment \u2013 all manner of traces and residues, particularly shadows and reflections.<\/p>\nLF<\/strong>\u00a0 That is part of the game.<\/p>\nJPC<\/strong>\u00a0 The photograph itself is a residue.<\/p>\nJPC<\/strong>\u00a0 Edward Weston said, \u201cAnything that excites me for any reason, I will photograph.\u00a0 Not searching for any usual subject matter, but making the commonplace unusual.\u201d<\/p>\nLF<\/strong>\u00a0 Or vice versa. It doesn\u2019t have to be exotic. Let the commonplace be commonplace. That works too.<\/p>\nJPC<\/strong>\u00a0 In certain kinds of photographs, I think there is a deadpan quality, for lack of a better word. They\u2019re very direct. Like the dry humor of a yankee or a cowboy, there is a minimal, bottom-line quality to them as they are presented without embellishment, unpolished.<\/p>\nLF<\/strong>\u00a0 Sometimes just the facts of the matter make it interesting. Do you know Jimmy and Jessie McReynolds? They\u2019re bluegrass singers. They have a song.\u00a0 \u201cI\u2019m in love with a girl wearing nothing but a towel and a smile on a billboard in the field by the old highway.\u201d That is pretty deadpan, the way it is said and what is said about is a complete picture. The same thing is true of photography I suppose. That is the kind of same material that we use.<\/p>\nJPC\u00a0<\/strong> The particulars can tell the whole story.<\/p>\nLF<\/strong>\u00a0 Look how beautiful Walker Evan\u2019s pictures are. If you will, they are deadpan.\u00a0 I don\u2019t find them deadpan because they are so beautiful.<\/p>\nJPC<\/strong>\u00a0 Right. That gets me to the follow-up question. Often there is an impulse to make pretty pictures. I think beautiful might be different than pretty. There is a difference between photographs where the image itself is beautiful for aesthetic reasons (light and form) and images that are beautiful for other reasons (the more ephemeral qualities they contain).<\/p>\nLF<\/strong>\u00a0 You are over my head. I never think about things like that.<\/p>\nJPC<\/strong>\u00a0 What do you think about?<\/p>\nLF<\/strong>\u00a0 Not much.<\/p>\nJPC<\/strong> You try not to.<\/p>\nLF<\/strong>\u00a0 It is not a matter of trying. It\u2019s indigenous.<\/p>\nJPC<\/strong> You and Harry Callahan have a lot in common.<\/p>\nLF<\/strong>\u00a0 I take more to the subject than to my ideas about it. I am not interested in any idea I have had, the subject is so demanding and so important.<\/p>\nJPC<\/strong>\u00a0 So you let it tell it\u2019s story?<\/p>\nLF<\/strong> I don\u2019t know what I do. I know I am more interested in the subject than my idea about it.<\/p>\nJPC<\/strong> True of photography too?<\/p>\nLF<\/strong>\u00a0 I don\u2019t spend as much time thinking about it. I just do it all the time. I think when you do something for a long time it shows. Have you ever seen an old carpenter who you have asked to do something and you go to talk to him and he is nailing nails and he is looking at you and he doesn\u2019t bang up the wood? Any kind of craftsman, it seems to me, once they have established that they know how to do something, they do it so magically.<\/p>\nJPC\u00a0<\/strong> Barishnikov reminds us that the audience doesn\u2019t come to see an artist sweat. The great ones make it look easy\u2014deceptively easy. After an accumulation of hours and hours of effort, one makes it seem effortless. And possibly, in the moment, it is.<\/p>\nLF<\/strong> That is the ideal\u2014to be invisible. It\u2019s not to be prince of a medium.<\/p>\nJPC<\/strong> I think that is a particularly photographic interest.<\/p>\nLF<\/strong> I don\u2019t know. If you are a painter or a writer, you can go back and redo something. With photography, you can go back and try but it is probably going to be different because you only get that one shot, that hundreth of a second.<\/p>\nJPC\u00a0<\/strong> There are only so many decisive moments.<\/p>\nLF<\/strong> I don\u2019t even mean it\u2019s as powerful as a decisive moment. It is impossible to go back, in the exact sense. A fraction of a second makes it work. Perhaps a second later, it is something different.<\/p>\nJPC<\/strong>\u00a0 What do you think is the great value of getting out of the way?<\/p>\nLF<\/strong>\u00a0 It is just the perfect way to be a photographer\u2014invisible. There are lots of scenes that you see in which you would like to be invisible. Come back with the picture.<\/p>\nJPC<\/strong>\u00a0 To better understand it, the least amount of influence. It\u2019s scientific in its own way. Yet what was it Siskind said, \u201cWe look at the world and see what we have learned to believe is there.\u201d<\/p>\nLF<\/strong>\u00a0 I think that is good. Garry Winogrand said a lot of good things like that too.<\/p>\nJPC<\/strong>\u00a0 Photography is tied to memory.<\/p>\nLF<\/strong>\u00a0 Except it\u2019s not your memory. It\u2019s the camera\u2019s memory.<\/p>\nJPC <\/strong>How much does that differ?<\/p>\nLF<\/strong>\u00a0 I think a lot.<\/p>\nJPC<\/strong>\u00a0 Do you think that the camera\u2019s \u201cmemory\u201d ever becomes a substitute for our memory? I think at one time or another we have all turned to a photograph to verify something we had previously experienced. Often we revise our understanding of the moment based on what we find there. There\u2019s so much information in a photograph, more than we can process in the same 125th of a second.<\/p>\nLF<\/strong>\u00a0 That is because photographs are so loaded with information. They\u2019re remarkable. As I said, you get both the tree and the forest. I don\u2019t think photography had anything to do with memory. I don\u2019t think it has to do with personal memory. It is just what it is. It stops time.<\/p>\nJPC<\/strong>\u00a0 It has a lot to do with history, or the memory of a culture, don\u2019t you think?<\/p>\nLF<\/strong>\u00a0 I think it does.<\/p>\nJPC\u00a0<\/strong> Yet, history, even personal history, is constantly revised. We see the past from the present. We constantly revise based on our present point of view, which is constantly changing.<\/p>\nLF<\/strong> Yes.<\/p>\nJPC<\/strong>\u00a0 Would you edit the body of work that you have done differently now?<\/p>\nLF<\/strong>\u00a0 I think so. Not from that point of view though. I\u2019d do it merely by whim. I do my editing. Life is just my whim. It is the one thing that I have that nobody else has. I can choose to do that. It\u2019s a luxury.<\/p>\nJPC<\/strong>\u00a0 You have different whims today than yesterday?<\/p>\nLF<\/strong>\u00a0 Yes.<\/p>\nJPC<\/strong>\u00a0 What\u2019s on your current list?<\/p>\nLF<\/strong>\u00a0 I have nothing on my list. My list is blank.<\/p>\nJPC<\/strong>\u00a0 That sounds pretty good actually. It leaves you clean, unencumbered, ready for the next moment. What is the advantage of that? And had photography helped you get there or have you always approached things that way and photographing just seemed appropriate?<\/p>\nLF<\/strong>\u00a0 Photography is so entwined in my life. I would be happy to say yes\u2014a big yes. It\u2019s like anything else. You have got all that stuff our there and you only allow so much into your frame. It\u2019s the same thing. Every word in the world is out there and somebody puts 15 of them together and makes something that somebody else wouldn\u2019t make.<\/p>\nJPC <\/strong>So every picture, every shape in the world is out there, and you have to put it together in your own way. If you have a blank sheet, blank canvas, blank piece of film, with no preconceptions you might be able to get it a little quicker?<\/p>\nLF<\/strong>\u00a0 Maybe.<\/p>\nJPC<\/strong>\u00a0 I like the sense of maybe.<\/p>\nLF<\/strong> When you take a picture you haven\u2019t a clue that it is going to be what it is.\u00a0 Maybe you have a clue but you don\u2019t really know. There are too many possibilities. Part of the game is how many balls you can juggle. It is to me.\u00a0 When you are 12 you can juggle two. Maybe when you are 50 you can juggle five. That is an interesting concept to me: how much I can put in and still make it pull together?<\/p>\nI don\u2019t even know if it is artful. If he is able to do what he wants to do and make it look like it is a simple possibility, then he solves his problem. Art is too big a word for me. It has too many letters in it.<\/p>\n
JPC<\/strong>\u00a0 What joys would be particular to a life of photography?<\/p>\nLF<\/strong>\u00a0\u00a0 I think it\u2019s the same answer to what joys would be particular to a life. And that is personally I suppose. My particulars might not meet yours. I have had a lucky life, a good life, it seems to me. Maybe I am wrong. Maybe that\u2019s my fantasy, but it seems to me that I have been able to have a lot of fun passing the years.<\/p>\nJPC<\/strong>\u00a0 It seems that in the kind of photography you do the focus is placed on the particulars of your immediate environment\u2014self-portraits, portraits of your wife, portraits of your environment. George Tice has spent the greater portion of his life photographing his home, New Jersey, and is now rephotographing his New Jersey. Photography then becomes one piece in the fabric of our lives, perhaps the thread that binds it all together.<\/p>\nLF<\/strong>\u00a0 I\u2019m also interested in what cities look like. For the last ten years I have been interested in landscape. I photograph the same stuff that I did 40 years ago.\u00a0 It just comes our differently. I know something different about it or it looks different now. It has aged. Or there\u2019s a new version of it. I don\u2019t think there is much new to do. The only thing you have is your own circa.<\/p>\nJPC<\/strong>\u00a0 We have an active hand in creating our environment. The work we do create is the environment that we find ourselves in. If one decides one is going to photograph sacred sites, then one starts traveling the world.\u00a0 If one decides one is going to photograph one\u2019s family, then one stays home.<\/p>\nLF<\/strong>\u00a0 I do both. I like hands that work, so to speak. I need to keep busy. So if I am home, I work. If one really knew what one was doing, why do it? It seems to me if you had the answer why ask the question? The thing is there are so many questions. I wonder what it is going to look like if I stand here or if I stand there.\u00a0 I don\u2019t know. If 50 years of doing it meant that every time you picked up the camera you made a good one you wouldn\u2019t have to take many. I make a lot of stupid pictures. Most of them are stupid because I\u2019m trying to figure where to be or where to focus. I don\u2019t think the problems area any different now. I grow wiser as time passes only because I know a little bit more about what is possible, only because I\u2019ve done it for so long. I am used to being a craftsman. But maybe it\u2019s not that. Maybe it\u2019s infatuation. Age has no patent on infatuation.<\/p>\nJPC\u00a0<\/strong> And then, there are times when too much passion or too much control can be a liability.<\/p>\nLF<\/strong>\u00a0 I can be fooled as anybody else by what I believe is wonderful.<\/p>\nJPC\u00a0<\/strong> I\u2019m curious about your book The Desert Seen. I find a very unusual sense of composition and light at work there.<\/p>\nLF<\/strong>\u00a0 It\u2019s the place. The place is different. It\u2019s in Arizona\u2014the Sonora desert. It\u2019s the desert with the giant saguaro cactus. It is the only place in the world they grow. I kept going back there for about 11 years. I think the desert is an elegant looking place. It is an amazing place. It is the place.<\/p>\nJPC<\/strong>\u00a0 I was interested in tangled, almost Giacommeti-like compositions. They defy the classic standards of composition. A bit like Pollock\u2019s work, they emphasize the field more than clear figure ground relationships as opposed to a vision like Mapplethorpe\u2019s, who often stripped things down to a solitary object in a very simple space. I go to the desert to find the vastness of space and bring back minimalist compositions. You go to the desert and you find these marvelously intricate and unconventional compositions.<\/p>\nLF<\/strong>\u00a0 No. You are wrong. The desert looks like that. It\u2019s a tangle. You could isolate elements. Take portraits of cactus. The place to me looks like that. I mean not just to me. I think it looks like that and that is what I simply tried to make photographs of\u2014what it looks like.<\/p>\nJPC\u00a0<\/strong> Clearly there are many deserts and many ways of seeing the same desert, so there must in turn be many photographers, perhaps even many photographies.<\/p>\nIs there anything else on your mind?<\/p>\n
LF<\/strong>\u00a0 Nothing.<\/p>\n<\/div>\n <\/p>\n
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Read More Photographers On Photography Conversations.<\/strong><\/a><\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Lee Friedlander Read selected quotes. Lee Friedlander, born in 1934 in Aberdeen, Washington, began photographing the American social landscape in 1948.\u00a0 His photographs bring to the surface the juxtapositions of everyday life that comprise…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":38787,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"folder":[4186],"yoast_head":"\n
Lee Friedlander - John Paul Caponigro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lee Friedlander - John Paul Caponigro\" \/>\n<meta property=\"og:description\" content=\"[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Lee Friedlander Read selected quotes. Lee Friedlander, born in 1934 in Aberdeen, Washington, began photographing the American social landscape in 1948.\u00a0 His photographs bring to the surface the juxtapositions of everyday life that comprise...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/\" \/>\n<meta property=\"og:site_name\" content=\"John Paul Caponigro\" \/>\n<meta property=\"article:modified_time\" content=\"2021-06-03T20:05:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/005_Friedlander.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minutes\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Lee Friedlander - John Paul Caponigro","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/","og_locale":"en_US","og_type":"article","og_title":"Lee Friedlander - John Paul Caponigro","og_description":"[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Lee Friedlander Read selected quotes. Lee Friedlander, born in 1934 in Aberdeen, Washington, began photographing the American social landscape in 1948.\u00a0 His photographs bring to the surface the juxtapositions of everyday life that comprise...","og_url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/","og_site_name":"John Paul Caponigro","article_modified_time":"2021-06-03T20:05:11+00:00","og_image":[{"url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/005_Friedlander.jpg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebSite","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/#website","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/","name":"John Paul Caponigro","description":"Illuminating Creativity","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.johnpaulcaponigro.com\/blog\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/#primaryimage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/005_Friedlander.jpg","contentUrl":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/005_Friedlander.jpg","width":425,"height":279},{"@type":"WebPage","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/#webpage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/","name":"Lee Friedlander - John Paul Caponigro","isPartOf":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/#primaryimage"},"datePublished":"2021-05-05T21:19:34+00:00","dateModified":"2021-06-03T20:05:11+00:00","breadcrumb":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/lee-friedlander\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.johnpaulcaponigro.com\/blog\/"},{"@type":"ListItem","position":2,"name":"Photographers On Photography: Conversations","item":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/"},{"@type":"ListItem","position":3,"name":"Lee Friedlander"}]}]}},"_links":{"self":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38842"}],"collection":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/comments?post=38842"}],"version-history":[{"count":6,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38842\/revisions"}],"predecessor-version":[{"id":39436,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38842\/revisions\/39436"}],"up":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38787"}],"wp:attachment":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/media?parent=38842"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/folder?post=38842"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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