For nearly five decades, William Antin's extraordinary collection of New York City street photographs remained hidden from public view. Now, at age 70 and following two heart attacks, the photographer has finally decided to share his intimate documentation of 1970s New York with the world. His extensive archive captures a city that has dramatically transformed since the era when graffiti-covered subway cars and gritty urban landscapes defined the metropolitan experience.

Antin's photographic journey began unexpectedly during his high school years when he enrolled in a photography class taught by Steve Gordon. This eye-opening experience sparked his passion for capturing images, leading him to become his yearbook's photo editor and eventually gaining acceptance to the S.I. Newhouse School of Public Communications at Syracuse University. However, the impersonal nature of large lecture halls with up to 250 students taught via television monitors didn't align with his artistic vision, prompting him to transfer to Manhattan's School of Visual Arts where he honed his skills as a photojournalist.

Throughout his career, Antin has documented iconic New York landmarks including Roosevelt Island, Liberty Island, and various public transportation systems across the city. His work spans from bustling midtown intersections to quiet ferry rides and tramway journeys. Using exclusively natural lighting and handheld techniques with his Leica M4 camera equipped with a 35mm Zeiss lens, Antin developed a distinctive style that rarely involved cropping his images, preferring to capture authentic moments as they naturally occurred.

One of Antin's most significant projects focused on Grand Central Station, which he undertook during his senior year at the School of Visual Arts. He spent countless days and nights camping out on waiting room benches, sometimes sleeping there to observe and photograph the diverse mix of commuters, employees, and transients who passed through the historic terminal. "My senior year at SVA was dedicated to photographing the life force of the people found inside Grand Central Station," Antin explained in a recent interview with My Modern Met.

The photographer's favorite projects included documenting Liberty Island and its ferry system, as well as Roosevelt Island and its tramway. These historic locations captivated him because of 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," Antin noted. He also created a deeply personal photographic essay featuring portraits of children in a hospital for the chronically ill, though he keeps these images private due to the lack of formal photo releases.

Despite his talent and dedication, Antin's photography career took an unexpected turn in 1978 when he declined a career-defining opportunity to work as an assistant to an Associated Press photographer in Israel, largely due to family pressure. "I felt like that was my chance and I blew it," he reflected. This decision led him away from professional photography for decades, during which he worked various jobs before eventually enrolling in a diagnostic ultrasound program and spending 30 years as a cardiac ultrasonographer in private practice.

Antin's creative process was enhanced by his technical skills, which developed under the guidance of instructor Sydney Kaplan, who helped him master printing techniques. He worked at a professional photographic laboratory that printed for gallery shows throughout New York and commercial advertising campaigns, and was notably the first lab in the city to use Cibachrome developing and printing technology. As his printing skills grew, so did his excitement for capturing images and watching them come to life in the darkroom.

The photographer's work offers a unique window into a New York that no longer exists, with each photograph serving as a time capsule of urban life from the 1970s. His compositions reflect the dramatic changes the city has undergone since that era, evoking a subtle power that invites viewers to imagine a past accessible only through memory and photographs like his.

Regarding his decision to finally share his work publicly, Antin explained that he never believed photography could provide an acceptable or profitable career path. "Photography was my dream 40 years ago, but I never had the confidence or pride in my work to advocate for myself," he admitted. Financial constraints also prevented him from participating in gallery exhibitions, as he couldn't afford to reproduce and frame his work for shows.

Now in his retirement, Antin faces new challenges in sharing his archive with galleries and museums. He notes that the art world has changed significantly since his active years, with institutions now preferring printed portfolios sent by mail rather than the face-to-face meetings he values. "I come from a time when I appreciate a face-to-face meeting, especially when it comes to talking about my work," he explained.

Currently, Antin is not working on new photographic projects, as he lacks a camera and finds that his fixed retirement income makes purchasing new equipment unlikely. His recent health challenges, including two heart attacks, have also made traveling for photography exhausting. However, he remains hopeful that his decades of work will finally receive the recognition it deserves, stating simply: "I'm 70 years old and I'm looking to get my work seen before I pass away."