Archived posting to the Leica Users Group, 2004/12/02
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]My God, Greg, we actually agree on something 100 percent! :-) Though many artists head off in different directions during the course of their careers, the photo world would have benefited from Frank's sticking with the kind of traditional documentary work that gained him such acclaim. He had an eye like few others before or since, and an ability to use shadow and darkness that was just stunning. One of the best examples of his eye is the photo in The Americans of the New Orleans bus/street car, in which each bus window is, in itself, a framed photograph. That is one of those photos that forces me to wonder whether he really saw all that in a split second; whether he saw it on a subconscious, rather than a conscious level; or whether he saw it on the contact sheet. B. D. -----Original Message----- From: lug-bounces+bdcolen=earthlink.net@leica-users.org [mailto:lug-bounces+bdcolen=earthlink.net@leica-users.org] On Behalf Of GREG LORENZO Sent: Thursday, December 02, 2004 8:20 PM To: Leica Users Group Subject: Re: [Leica] WAS Magnum Stories NOW Robert Frank Storylines Peter Dzwig writes in part: > > Even the modern stuff which I don't personally like was much better > set out and > shows the visitor who isn't familiar with his work why people regard him so > highly - as for the stuff from the 50s and 60s... > I visited the Robert Frank exhibit when I was visiting Ottawa a couple of years back. I to found his more recent work not up to the standard he set with The Americans. Regards, Greg _______________________________________________ Leica Users Group. See http://leica-users.org/mailman/listinfo/lug for more information