[8] She ran out of money and sang to make a living; she continued singing in Paris and on a television variety show in London.
[3]Andy Grundberg would also note the influences on her style of Smith, Henri Cartier-Bresson, Don McCullin, Leonard Freed, and Weegee; but would add that: "To appreciate [her] photographs one needs to consider their substance, not their style. . . .
"[10] On hearing of the assassination of Martin Luther King, Freedman quit her job and went to Washington, DC.
[11] She lived in Resurrection City, a shantytown put up by the Poor People's Campaign on Washington Mall in 1968, and photographed there.
Photographs from the series were published at the time in Life,[2] and collected in Freedman's first book, Old News: Resurrection City, in 1970.
A. D. Coleman wrote of the book: It is a very personal yet highly objective statement, filled with passion, warmth, sorrow and humor.
Freedman's pictures are deft and strong; her text witty, sardonic and honest, with quirky insights and touching moments of self-revelation.
Seven weeks of one night stands", and moving across New York, Massachusetts, New Jersey, Rhode Island, New Hampshire, Vermont, Pennsylvania and Ohio.
A contemporary reviewer for Popular Photography started by observing that "the passionate photojournalistic essay of yesterday" was "an endangered species", before saying that it lived on in photobooks such as this one.
The reviewer described Street Cops as "[celebrating] the heroism, compassion, and humor of New York police professionals", and saying that the book "is traditional and satisfying in that it accomplishes a blend rarely successful – or even attempted – these days: an organic fusion of words and photographs".
[3] In 1983, New York Times critic Andy Grunberg recognized her black and white street photography in New York, grouping Freedman with Lee Friedlander, Fred R. Conrad, Bruce Davidson, Roy DeCarava, Bill Cunningham, Sara Krulwich and Rudy Burckhardt.
The medical expenses meant that she had to leave her apartment above the Sullivan Street Playhouse;[2][ii] in 1991, she moved to Miami Beach; she was dissatisfied there[2] but was able to read a lot.
She shot Kodak Tri-X and liked to use a 35 mm lens and available light, and to print on Agfa Portriga Rapid paper.
[26] When asked on another occasion, she approvingly cited Elliott Erwitt on not being boring and attempting to do excellent work; technical questions and even posterity should not be a concern.
[9]In 2016, Freedman's work and career,[31] especially her images of New York City, was the subject of renewed interest, appearing in multiple Vice articles,[32] including their 2016 photography issue[33] and at Art Basel Miami.