Jack Kerouac, the famed Beat Generation poet and novelist wrote the introduction to the first American edition, which came out in 1959, a year after the book was … A quote from the book on “Looking In: The Americans”:“In the late 1950s and early 1960s neither The Americans nor Frank’s work made on his Guggenheim fellowship were well received, especially by the photography press.
To finance his trip, his mentor Walker Evans encouraged Frank to apply for the Guggenheim fellowship. For example a photograph he took of a drive-in movie theater in a Detroit suburb showed the lonely beauty of watching a movie alone by yourself. Photograph by Thomas Hoepker / Magnum. In one of Tuggener’s books titled: “Tuggener’s book was divided into 9 parts, each which had a different aspect of the industries and modern technologies. Cartier-Bresson won’t help, wide-angle lenses won’t help either.”Edward Steichen, one of the most influential and important photographer curators of all time gave the young Frank lots of great advice when it came to his photography. As Frank recalled, Steichen told him the following:“It is better to be a plumber in the daytime so you can be a photographer at night time.”When Frank was a young photographer, he shot mostly with a medium-format square-format Rolleiflex camera.

Over time when Frank worked on “The Americans” his working style evolved into being much more graceful and casual. By cutting out these other themes, he was able to focus on the central themes in his book such as race, religion, and the overwhelming sense of alienation.Upon editing his work, Frank then focused on the sequence and the structure of the book:“Next, he worked on the sequence itself. They worked for me.In the end Robert Frank’s "The Americans," a book that was once reviled and unsalable, is today © Robert Frank, courtesy of the Pace/McGill collection© Robert Frank, courtesy of the Pace/McGill collection© Robert Frank, courtesy of the Pace/McGill collection© Robert Frank, courtesy of the Pace/McGill collection© Robert Frank, courtesy of the Pace/McGill collection Frank's images of a soulless, violent and racist America wasn't what people wanted to see in the gilded world of "Mad Men." Joyce Johnson, who was Kerouac’s girlfriend at the time, shared her recollection of the event:Robert Frank walked in with a couple of boxes of his work. After a brief hiatus in Switzerland, he went back to the states and said, “This is the last time that I go back to New York and try to reach the top through my personal work.”What ensued afterwards was history. Frank’s intended project– to photograph throughout the United States– was neither unexpected nor novel.”Also from the text, about the other famous photographers who embarked on photographing America:“Many American and European photographer before him — from Cartier-Bresson to Frank’s friend Elliott Erwitt, to name only two of the most recent– had photographed their travels throughout the United States.”However what we can take away from Frank’s example is that he still embarked on “The Americans” even though the topic had been covered thoroughly. I think over overlapping makes the photos more interesting as there is more that drags your eye to the picture. However his work has now inspired countless photographers and has left its marks for generations to come. There are very few subjects, which are “original”. He asked me if I’d like to look at the pictures. “The photographing of America” is a large order — read at all literally, the phrase would be an absurdity. However Alexey Brodovitch, a Russian-born photographer, designer and instructor (who Frank looked up to) suggested him to ditch the Rolleiflex for a 35mm Leica. But now, with the knowledge that he had plenty of materials, a full year to work on the project, and no one to please but himself, he responded more immediately and intuitively.

Therefore Frank learned that in order to create emotional photographs, he needed to experiment with different techniques in photographing, printing, and presenting his work. To start off, when Frank first heard of the New York Times review of “On the Road”, he met Jack Kerouac at a party where he asked him to write the introduction.


An excerpt from “Looking In” also shows the challenge that Frank faced at the time:“Rebelling against the popular 1950s notion championed by Edward Steichen and others that photography was a universal language, easily understood by all, he wanted a form that was Therefore in “The Americans”, he didn’t want to create simply a straightforward documentation of America that was more “objective”.


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