Paris 35A 1949 - 1950

This is Robert Frank's 'Paris 35A', a contact sheet probably made around the time he was working on his book, 'The Americans'. What I see is a kind of raw, unfiltered glimpse into his photographic process. The texture is rough, the images grainy. He is using the whole frame, not cropping. You can see the sprocket holes. These aren't precious or staged; they're like sketches in a visual diary. The light flares and dark shadows feel immediate and unpolished. In one row, you see a man selling balloons. Each frame captures a different moment. The repetition highlights the act of seeing itself. Is Frank trying to see something different in each frame, or show us the same scene from many points of view? This piece reminds me a bit of Garry Winogrand's street photography, that same kind of grab-and-go aesthetic. It's all about capturing the energy of a moment. And, like all great art, it leaves you with more questions than answers.