were fascinated by the way Frank successfully straddled the line between photojournalism and art:
When it comes to a discussion of the dichotomy between self-expression and reportage, Robert Frank’s enduring classic The Americans is a fine place to start. As an undergraduate student straddling the fence between photojournalism and art in the 1980’s, I, like countless others before and since found myself drawn to this dark, grainy little book. Much of what made The Americans resonate was the tension brought on by the book’s brash, subversive quality. This was liberating: photographs made with a subjective eye, shedding the pretenses of journalistic objectivity and stylistic convention.
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others—perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph.