Garry Winogrand walked American streets and public occasions with a camera from the 1950s into the late 1970s. His title states a position: photography, for him, was less a record than a continuing test of reaction and nerve. Published by T.F. Editores in 2001, The Game of Photography gathers that work chronologically, from the early years to the last decade of his picture-making.

The people in these pages come from across the social field — passersby going about their day, celebrities at parties, demonstrators, beauty queens, rodeo riders, street children, men in suits. What holds the sequence together is temperament rather than subject: framing that slips off centre, an evident appetite for the absurd, figures caught a half-second before a scene settles into legible meaning.

The making of the book deserves attention. Two photographs appear on each spread, held generously by white margins, so that neither image competes with the other. At roughly 34 by 24 centimetres and about 150 pages, the hardcover volume gives the pictures room and encourages comparison rather than deference to a single celebrated frame.

Carlos Gollonet is credited as a contributor; the photographs are Winogrand’s. This is the Spanish-language edition, which places an American street photographer in a Spanish publishing and exhibition context and gives the sequence a reading order distinct from later retrospective anthologies.

For a collector, the value lies in that combination of chronological span and restrained editing. The book does not chase visual impact. It asks to be read slowly, two images at a time, and it rewards the reader who wants Winogrand’s humour and range rather than his greatest hits.