Quoted: camera back is never vertical, as prescribed by classic procedure; if the figure fills the frame the lens will be pointed at the subject's navel, and the camera back will be inclined some forty-five degrees downward from vertical. In this posture any lens will violate our belief that we should see the walls of buildings as parallel to each other, but the wide-angle lens, because of its broader cone of vision, will exaggerate the effect, and destroy all sense of architectural order. To retrieve a kind of stability Winogrand experimented with tilting the frame, making a vertical near the left edge of his subject square with the frame, and then a vertical near the right edge, or a dominant vertical anywhere between. In the process he discovered that he could compose his pictures with a freedom that he had not utilized before, and that the tilted frame could not only maintain a kind of discipline over the flamboyant tendencies of the wide-angle lens but could also intensify his intuited sense of his picture's meanings...