OF THE NEARLY three hundred photographs in this bold retrospective of Garry Winogrand’s work at the San Francisco Museum of Modern Art, many ask of us a kind of intense level of attention—the same kind of attention with which Winogrand’s camera itself seems to embrace and threaten its subjects. Winogrand said he wanted to see in the picture what the camera did to his subject and what it could do with light: For example, a 1969 shot shows Hollywood sunlight narrowing into a sharp apex, through which three proud beauties are about to pass; in the shadows beyond, a man, whom they just seem to