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And he continued to hone his style, taking pictures of whatever he liked. For six years, Frank traveled the world, stopping in Peru, Panama, Paris, London, and Wales. After just one month, he quit.įrom there, he wandered. Frank became frustrated by how much control the editors had over his photos, and disillusionment set in. But taking pictures of purses and girdles for the magazine’s fashion section quickly grew tedious. At 22, Frank had already realized his dream-he was being paid to take photos.
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Life felt even more like a movie when he landed a gig as a staff photographer at Harper’s Bazaar. Robert Frank drove 10,000 miles and took 27,000 photos in the 1950s to make The Americans. “Never before have I experienced so much in one week as here,” he wrote to his parents. But he fell in love with the city’s energy. He didn’t plan to stay in New York long, says Sarah Greenough in her book Looking In. In February 1947, Frank took his collection and sailed to New York City. For the next five years, the shutterbug informally studied photography with Segesser and other Swiss lensmen, building a portfolio of “40 Fotos” that he hoped would be his ticket out of Switzerland.
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Segesser took Frank under his wing, teaching him how to work a camera, develop negatives, make prints, and retouch photos. “I want to learn what you do,” Frank said.
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A professional photo retoucher named Hermann Segesser lived above his family, and one day, the teenager visited him. But it wasn’t: Paradoxically, Frank’s biggest complaint as a teenager was that the country was as small, quiet, and dull as ever. Frank’s family worried that Switzerland was next. Before his 15th birthday, he saw the stock market crash, the Spanish Civil War erupt, Jews like his father lose their citizenship, and Nazis invade Poland. But the devil is in those details: Together, the pictures comprise a skeptical portrait, an outsider’s view of a country that was, at the time, all too sure of itself.īorn in Switzerland in 1924, Robert Frank grew up in a bubble about to burst. Many of the photos are blurry, grainy, and smudged by shadows. Rarely do the subjects look at the camera. They show people eating, sitting, driving, waiting-and that’s about it. The pictures in Robert Frank’s The Americans are so ordinary that you just might miss what makes them extraordinary. But he didn’t necessarily think they would change photography-or how people see the country.
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Along the way, he used 767 rolls of film, filled uncountable tanks of gas, and endured two stints in jail. Frank had driven more than 10,000 miles to capture those photos. To him, the pictures did more than capture America: The black-and-white film had “caught the actual pink juice of human kind.” He agreed to write some text to accompany it. And, in one photo, a shining stretch of straight highway in New Mexico, darting like an arrow toward the horizon. There were cowboys and cars, jukeboxes and tattered flags, cemeteries and shoe shiners, politicians and proselytizers. So the two met outside of a party, plopped down on the sidewalk, and flipped through the pictures. He planned to publish the photos in a book and wanted Kerouac to write an introduction. He had driven from New York City to Detroit to New Orleans to Los Angeles, photographing practically every big city and one-horse town along the way. Like Kerouac, who had recently released On the Road, Frank had just completed a historic road trip across America.
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In reality, he held a book of photographs taken by a Swiss photographer named Robert Frank. On a hot September day in 1957, Jack Kerouac sat on a New York City sidewalk holding America in his hands.