Frank passed through the city in 1955 and took a photograph of a row of passengers on a Canal Street trolley — whites in front, blacks in back. There's an interesting quote by Robert Frank I came across in a local (Parisian) journal, it goes like this: "A decision: I put my Leica in a cupboard. They’ve earned the right to claim Frank’s loyalty. 132545 With the lens: NIKKOR-S . He explained that his work had been published in the New York Herald Tribune, the New York Times and Life and Look magazines. Before World War II he often used a Leica III or IIIa with an uncoated 50mm f/2 Leitz Summar lens, and in the ‘50’s he shot with a Leica IIIf with a 50mm f/1.5 Summarit or a 50mm f/2 Summitar lens. There was a single click. I really like Robert Frank. But lately, he attends his openings; this summer he accepted an honorary degree from the Nova Scotia College of Art and Design. Once a necessity of technological constraints, black and white photography now requires a deliberate choice. ‘‘My mother asked me, ‘Why do you always take pictures of poor people?’ It wasn’t true, but my sympathies were with people who struggled. I just play with the curves a little in Aperture and Lightroom. He was awarded the fellowship and in the summer of 1955 began his 10,000-mile journey with a trip to Pennsylvania, Ohio, and Michigan. To look again at the photographs Frank made before Selma, Vietnam and Stonewall, before income inequality, iPhones and ‘‘I can’t breathe,’’ is to realize he recognized us before we recognized ourselves. In 1955, with funding secured to support his goals, Frank, who had immigrated to the United States from Switzerland towards the end of the previous decade, set off with his 35mm Leica camera in a Ford … ‘‘That trip I got to like black people so much more than white people.’’, Frank, left, with Jack Kerouac on the set of the film ‘‘Pull My Daisy’’ in 1959. For decades, Frank refused honors and exhibitions. Robert Frank was born in Switzerland in 1924. He would’ve needed another family. ‘‘In Arkansas,’’ Frank recalls, ‘‘the cops pulled me in. Even more pictures, even more current: On the LFI Blog you will find outstanding photo series, exciting interviews, exclusive background stories, and videos. But it wasn’t why Robert Frank used a Leica, and it wouldn’t be today if he were still photographing. Its 50mm Sonnar was seriously out of whack, offset sufficiently from the film plane that it was exposing the sides of the image around the film’s sprocket holes. That changed Robert incredibly, slowly, agonizingly. The Leica M has a minimum focusing distance of .7 meters. Santa Fe, New Mexico shows us an abandoned gas station set against a desert wilderness, the gas pump 'figures' allowing one to recall perhaps the theme of human desolation as explored by the likes of Edward Hopper in his famous 1940s painting Gas . Its 50mm Sonnar was seriously out of whack, offset sufficiently from the film plane that it was exposing the sides of the image around the film’s sprocket holes. I make films. So, Frank says, ‘‘I turned to Kerouac.’’, It was early September 1957 when Frank heard about ‘‘On the Road,’’ a novel that had just been praised in The New York Times as ‘‘the most important utterance yet made by the generation.’’ Frank ‘‘liked the speed of it, taking you back and forth across the country, his descriptions of the landscape in the morning, the little towns, which he describes with such exquisite beauty — the love for America.’’, He found Kerouac ‘‘at a New York party where poets and Beatniks were. She was so similar to him — stern, critical, sexy, tough. I talked to the subject a few minutes and looked into the car where I noticed it was heavily loaded with suitcases, trunks and a number of cameras. His fingerprints were forwarded to the FBI. This was choppy and crude and gutsy.’’ When Frank invited friends to a screening, he says, ‘‘they were happy somebody looked at the world in a different way.’’ Viewers still feel similarly, which pleases Frank, ‘‘especially because people didn’t really like my later films.’’, Across the next 40 years, Frank would release 31 mostly short, genre-eluding, quasi-documentary movies that met with even less success than ‘‘Pull My Daisy.’’ He says that working outside the studio system, operating ‘‘completely against the rules of how you made a film,’’ was challenging. Hurry! ‘‘It’s almost totally different. Robert Frank、正直言って今まで知りませんでした。 今回の写真展は、あまりにもRobertの写真が高くなりすぎたため、何とか多くの若手の写真家等に観てもらいたい。という意向からプリントも安価な形で実施された写真展だ。 Life goes fast.’’, Evans wore English shoes and patrician airs. In November 1955, Lt RE Brown of the Arkansas State Police spotted an unshaven and shabbily dressed suspicious looking man driving an old Ford near the Mississippi River.The man’s car was full of maps, numerous papers written in foreign languages, and a number of strange German “Leica’ cameras with bags and bags of exposed films. Not long after he renounced his Leica, word circulated among other photographers that he was entering photo contests under assumed names and winning. ... [After The Americans] I put my Leica in a cupboard. As Laura Israel, Frank’s longtime film editor, says, ‘‘He’s all about the detour.’’. Sometimes he gave people rides — workers, prostitutes — but Frank did not seek personal connections. As a result, the all-but-unavailable ‘‘Blues’’ is a celluloid apparition. He then spread them on the floor and thumb-tacked them to walls, grouping them by themes such as race, religion, politics and the media, as well as subjects including cemeteries, jukeboxes, and lunch counters. The mistake comes from thinking that Art results simply from doing something competently. Frank with his son, Pablo, in 1994 at Frank’s home. The Gallery has continued to collect works by Robert Frank, acquiring 61 objects from 1994 to 1996, seven objects in 2000 and 2001, three objects in 2006, 20 objects in 2010, and one object in 2011. ‘‘He looked at it and then he said, ‘Richards came out better than me.’ Probably was right.’’ Richards agrees, of course: ‘‘One of Mick’s hangups is himself. It’s severe. That same year, Frank and Mary separated and Frank immediately began life with Mary’s friend June Leaf. ... Leica III with 35mm, 50mm and 90mm lenses. Although Frank still retains a certain Swiss civility, he enjoys provocation in others. Form is independent of, and prior to, color. You can’t define it, but, like pornography, you know it when you see it. By the 1960s, just as his work was gaining a following, Frank abruptly moved on from still photography to become an underground filmmaker. Falling into a place-to-place rhythm, he took pictures of bystanders, vagrants, newlyweds, Christian crosses, jukeboxes, mailboxes, coffins, televisions, many cars, and those many flags. At a fleabag Los Angeles inn, Frank recalls, they were instantly themselves. I cared about them. Robert Frank and June Leaf in Mabou. Photographs are distressed, dripping with tears of paint, rived with scratched-out messages. ‘‘I’ll write something.’’, One reason many other artists believe, as Nan Goldin says, that Frank ‘‘has never taken a false step’’ is that Frank always puts art above sentiment. Of the 27,000 images Frank shot on his journey documenting the nation, 83 black-and-white photographs were chosen for his seminal monograph The Americans. Frank’s subjects were recondite: a book signing for a writer who never turns up; a day in the life of a country letter carrier. ‘‘I know this town, but I certainly feel like a stranger here,’’ he said. We were advised that a Mr. Mercer Woolf of McGehee, who had some experience in counter-intelligence work during World War II and could read and speak several foreign languages, would be available to assist us in checking out this subject. O NO. ‘‘He’s famous because he made a mark. Since its original publication, The Americans has appeared in numerous editions and has been translated into several languages. But because it wasn’t going well it kept me going.’’ Defeat perversely encouraged Frank; he liked what he couldn’t do. LEICA NO. The tram entered a scruffy immigrant neighborhood not far from where Frank’s father, Hermann, had his business importing radios and record players, for which Hermann himself designed cabinets that Frank describes as ‘‘horrible.’’ Frank carried two rolls of film, but all the way out he only gazed out the window. What had happened as American complacency after … In his pocket he carried an Olympus camera. There have been unbroken bonds. Plenty of photographs were taken during Jim Crow. His most notable work, the 1958 book titled The Americans, was influential, and earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Of his son, Frank writes: ‘‘What a hard life we have together. Except that he could. Everything happened downtown.’’ When Frank showed the writer his pictures, Frank says he was empathetic. It was summer and so loud. But really good photography, evocative images that have something to say, are still as rare as hen’s teeth. The final photo in ‘‘The Americans,’’ showing Frank’s wife Mary and his son, Pablo. His father, Hermann Frank, of Frankfurt-am-Main, Germany, was a successful and well-educated businessman, who was an amateur photographer and interested in art; his mother, Regina, of Basel, was the daughter of a wealthy factory owner. And I don’t mean that in the sense of what digital photographers mean by ‘image quality.’ He couldn’t care less about sharpness and resolution and bokeh and all the other foolish things current photographers mistake for quality. Photography and film way when it comes near me was something I really like is a long-term project full devotion. Different from what you 're looking for rooms and polish. ’ ’ Frank challenges his children,... 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