For years, William Antin has been capturing the lives of New Yorkers. He’s frequented such landmarks as Roosevelt Island, Liberty Island, and various ferries, tramways, and other public transit across the city. He’s shot everything from gritty, graffitied subway cars to busy intersections in midtown. At 70 years old, Antin has amassed a monumental archive of photographs, each offering an indelible glimpse into New York and how it’s evolved throughout the decades. Still, his photography hasn’t been widely publicized—that is, until now.
One of Antin’s most notable projects are his photographs taken in Grand Central Station. During his senior year at Manhattan’s School of Visual Arts, he would spend entire days and nights camping out on waiting room benches in an effort to capture the commuters that passed through. His goal, he tells us, was to reveal the “life force” of the people that he encountered each day.
“Many of these images depict a sense of calmness and serenity in a place surrounded by the enormity and complexity of Manhattan,” Antin tells My Modern Met.
Antin’s compositions reflect a city that has dramatically changed since the 1970s, when many of his images were shot. Each photograph exudes a subtle power, coaxing its viewers into imagining a past that is no longer accessible outside of memory. It’s a fascinating exercise, especially for those who have witnessed New York change before their own eyes.
“All of my work is done hand-held with no artificial lighting,” Antin explains. “And I would almost never crop an image.” Now, nearly 50 years later, he says, “I’m 70 years old and I’m looking to get my work seen before I pass away.”
My Modern Met had the chance to speak with William Antin about photography and what originally compelled him about New York as a muse. Read on for our exclusive interview with the photographer.
What first drew you to photography as a medium?
When I was in high school, I didn’t really have much direction as far as what my future had in store for me. One day, I decided to sign up for a photography class taught by Steve Gordon. This was an eye-opening experience for me. With Steve’s guidance and tutoring, I became enthralled with taking pictures.
I soon became the yearbook’s photo editor and this inspired me to apply, and be accepted, to the S.I. Newhouse School of Public Communications at Syracuse University. This was a short-term experience, since I was placed in introductory communication classes with up to 250 students being taught by numerous TV monitors.
I needed to expand my photographic vision, but it wasn’t going to happen there. I then found myself transferring to the School of Visual Arts in Manhattan. This is where I learned to hone my skills as a photojournalist.
How has your creative vision evolved over time?
As my photographic printing skills grew, so did the excitement of capturing images of people and watching them come alive in the darkroom. Once again, an instructor named Sydney Kaplan helped me develop my printing talent, allowing me to become employed by a professional photographic lab. There, I printed for many gallery shows in New York as well as for commercial advertising campaigns. This was also the first lab in the city to use Cibachrome developing and printing.
You’ve photographed countless other sites around the city. Do you have a favorite?
Two of my favorite projects were photographing Liberty Island and its ferry and Roosevelt Island and its tramway. These historic sites sparked a huge interest in me, as I was captivated by the people who frequented them. Many of these images depict a sense of calmness and serenity in a place surrounded by the enormity and complexity of Manhattan.
I also did a photographic essay, featuring portraits of children in a hospital for the chronically ill. The facility gave me permission to take pictures; but unfortunately, I have no photo releases of my subjects. It was an extremely heartfelt place to experience the joy of these children and I will always cherish the images I took and will be satisfied to share them privately with friends.
One of your most enduring subjects is Grand Central Station. What originally compelled you about it, and what was the process of photographing it?
My senior year at SVA was dedicated to photographing the life force of the people found inside Grand Central Station. I would spend endless days and nights there, often sleeping on waiting room benches so I could observe the commuters, employees, or transients that passed through the station.
Like with all my other work, I used my Leica M4 with a 35mm Zeiss lens. All of my work is done hand-held with no artificial lighting and I would almost never crop an image.
Why did you never choose to share your photographs before now?
There was never a moment where I was led to believe that a life as a photographer was acceptable or profitable. In 1978, I was offered a career-deciding job my senior year as an assistant photographer to an AP press photographer, who wanted me to join him in Israel. I ended up turning the position down due to family pressure. I felt like that was my chance and I blew it.
I spent many years in odd jobs, none of which were anything I ever expected myself to do, but at least I could support myself. Later, I enrolled in a program in diagnostic ultrasounds, and I had some sense of purpose again. I spent 30 years as a cardiac ultrasonographer in a private practice, running all the technical aspects of the practice.
Photography was my dream 40 years ago, but I never had the confidence or pride in my work to advocate for myself.
Are you looking to share these photographs with galleries or museums?
I would absolutely love to be accepted into a gallery exhibition, but, back then, I pulled away from these kinds of shows because I couldn’t afford to reproduce my work and have it all framed.
Nowadays, galleries and museums don’t want to see your work in-person in the same way—they want you to print a book and send it to them. I come from a time when I appreciate a face-to-face meeting, especially when it comes to talking about my work.
Have you been working on any other photographic projects recently?
New projects aren’t really developing for me. I don’t have a camera right now, and being retired and on a fixed income makes it seem unlikely that I’ll be getting a new one anytime soon. I’m also 70 years old and am just getting over two heart attacks. Traveling around gets exhausting, but maybe after more time has passed.
