[Leica] WAS Magnum Stories NOW Robert Frank Storylines

[bdcolen at earthlink.net (B. D. Colen)]

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

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