Irene's children--New York City no number 1954

This contact sheet of Robert Frank’s, titled "Irene's children--New York City no number," shows us photography as a process. It's not just about the perfect shot, but about the many attempts, the variations, and the outtakes that lead to the final image. Here, the materiality is raw. We see the edges of the film, the sprocket holes, and the way the images bleed into each other. The tones are stark, high contrast, typical of Frank’s documentary style. Look at the sequence of images showing the children outside. Each frame captures a slight shift in their pose, a different angle, a fleeting moment. It’s like a dance, a conversation between the photographer and his subjects. Each frame is a mark, a gesture. The sequence almost reminds me of the work of Gerhard Richter, who also explored the idea of seriality and repetition in his paintings. Both artists invite us to embrace the ambiguity and multiple interpretations, reminding us that art is an ongoing dialogue across time.