Cousin Roger--Paris 6A 1949 - 1950

Editor: Today we’re looking at Robert Frank's "Cousin Roger--Paris 6A", a contact print made sometime between 1949 and 1950. It's essentially a sheet of film, showing several different moments. I'm struck by how raw and unfiltered it feels. What aspects of its composition do you find most compelling? Curator: The stark contrast between the images and the dark film around them creates a distinct sense of visual rhythm. The differing focal lengths in each frame demonstrate varied layers of experience. What purpose do you believe the photographer sought to express when arranging the strip into this matrix? Editor: Perhaps the collage structure shows the fragmentary and fleeting nature of street photography and personal memory, similar to the literary techniques developed at the time. I wonder if Frank was intentional about the order or juxtapositions. Curator: Indeed, the arrangement certainly guides our reading. There are numerous high-contrast shots on what we might call an "emotional" plane: rainy cityscapes. Then, on the bottom edge, low contrast, less obviously 'emotional,' scenes. I’m interested in your perspective on his compositional choices regarding line and shadow. Editor: I see how the stark lines and deep shadows create a sense of depth. But what is more intriguing is how the artist makes no effort to disguise the materiality of the strip: we are forced to recognise the 'support' on which the image is displayed. The dark areas are just as critical in contributing to the picture's meaning as the parts in 'positive'. Curator: A keen insight! By drawing attention to the photograph as an object he invites us to consider its nature as something constructed and not purely referential. The work creates its own reality by self-consciously drawing our gaze to the qualities of monochrome print-making. Editor: I appreciate that emphasis on the print itself! This helps us appreciate Frank's process and aesthetic choices.