With the passing decades, the New York gallery owner has established himself as a major 20th-century photography specialist, representing key names like Walker Evans and Henri Cartier-Bresson. We look back at a remarkable career.
What is your earliest memory to do with photography? When I was a child, I remember my father holding his camera as he filmed the family. Later, when I was a student, my girlfriend and a childhood friend got me interested in photography. Another memory comes to mind: in 1970, when I was in Europe, I had a bad car accident, and while I was convalescing, when I was back at home in Brooklyn, one of my mother's friends was going to visit Japan and asked if she could get me anything, so I said "a Pentax camera". Two years later, I gave up my psychology studies and became a full-time photographer. Was your experience useful to you as a gallery owner? Oh yes, certainly, because I learned to look at the world and people in a different way. In addition, all my darkroom work (I loved that) gave me the skills I needed to recognise a good print. It was an incomparable experience. And when I moved to Woodstock in 1972 and began to work for the local newspaper, the fact that I was a photographer enabled me to meet the town's artistic community and become part of the…
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