Dan Winters is an esteemed American photographer, illustrator, and filmmaker known for his unique and powerful visual storytelling. With a career spanning decades, Winters has gained international acclaim for his compelling portraits, intricate scientific illustrations, and evocative photojournalistic works. His distinctive style, characterized by meticulous attention to detail, rich textures, and profound emotional depth, has earned him a place among the most influential visual artists of our time. Winters’ work has graced the pages of National Geographic, WIRED, and The New York Times Magazine, among others, capturing everything from the serene beauty of nature to the complex human condition. Beyond his photographic achievements, Dan Winters is celebrated for his ability to connect with his subjects on a deeply personal level, bringing forth their essence in each shot and telling stories that resonate with audiences worldwide.
Winters’ work and most recent project is being featured in a new National Geographic documentary series, Photographer. He took the time out to discuss his work with SCINQ.
Throughout your career, you’ve mastered the art of capturing both the grandeur of space exploration and the intimate nuances of human expressions. What initially drew you to photography, and how has your inspiration evolved over the years?
My early passion as a model builder inspired me to document the models that I was building, mainly of spaceships inspired by science fiction films such as 2001 and Space Odyssey, Star Wars and many others. This is a passion that continues to this day. My connection to the medium of photography evolved into a pursuit of curiosity as we as photographers have to confront our subjects, there really is no limit to what we can photograph. We simply need someone or something to train our camera on.
Whether it’s through a documentary or a slide show or a book, contact with Henri Cartier Bresson and his notion of the decisive moment is like the ship that launched a million photography careers. How did it influence you?
Seeing Bresson’s work for the first time was, for me, both transformative and terrifying. His photographs are deceptively simple as was his technique. However his ability to wrestle images from the ether was profound and seemingly unattainable. His work showed me the profound possibility that photography offers as a storytelling medium. I have long made peace with the notion that I will never make an image as perfect as “Behind the Gare St. Lazare”, but I have hopefully made my own contributions to the medium that are unique to myself.
Your photographic style is often described as distinctive and deeply emotive, with a particular emphasis on the use of light and shadow. Can you share more about your approach to lighting and composition, and how you decide on the visual tone for each project?
Since the subject matter that I cover is diverse, my approach will vary significantly from assignment to assignment. I like to think that my methods speak less to style and more to a sensibility that has emerged over the 40 plus years behind the lens. Gregory Heisler once told me that the photograph should “reflect the appropriate response to the subject and the assignment.” I consider my end goal and establish intent. Things usually fall into place at that point. This method is, of course, partially learned and partially intuitive. I will say however that regardless of the plan, what the universe has to offer is always a consideration.
Your work not only captures moments but also tells profound stories, whether it’s through a portrait or a landscape. What is your process for conceptualizing a shoot to ensure that the final image conveys the story you intend?
That answer is two-fold. As it often happens, I will go into an assignment with a plan. I find that having a solid starting place is a good idea going into a shoot. Having a pre-conceived idea won’t insure that the shoot will be a success, but it is way to visualize a potential result. The myriad variables that can arise will often derail the best laid plans and an important skill for a photographer to possess is flexibility. To be open to and willing to change course when other options arise.
What is it about the human face that compels you to photograph it?
Aside from the obvious fact that they differ greatly from one another, the face carries the ability to convey the entire range of human emotion. I enjoy embracing and honoring this aspect of human communication.
Can you explain how Portraiture can be used to tell the story about a topic that, on the surface, is not about people (your latest project about ships being a perfect example)?
The shipyard photographs in Bangladesh are nearly all portraits with the shipyard acting as a background and the workers playing on center stage. I do subscribe to the tradition that all objects possess a force. Even a rock is in constant motion on a molecular level. It is sometimes difficult to extract emotion from the inanimate however with lighting and composition these things are possible.
Your project about ships originated in a childhood experience that has stuck with you since then. You originally envisioned the project one way but due to circumstances out of your control, you needed to adjust. How do you feel about your final product and did it, for want of better words, exorcise the demons?
The experience in the shipyards was indeed cathartic. In many ways it felt like home. The smells and energy were familiar tones from my childhood. My father was a welder and I worked with him for many years. I was raised in a blue collar environment, so the type of labor that surrounded me there was welcoming. The pivot from ship breaking to ship repairing proved to create a more optimistic picture regarding the industry in the long run.
GALLERY IMAGE CREDITS: Dan Winters.
COVER IMAGE CREDIT: National Geographic/Gene Gallerano.
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