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Robert Frank - The Americans [Edition spéciale] [Anglais] [Relié]

Robert Frank , Jack Kerouac
4.7 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
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Description de l'ouvrage

9 juin 2008
À l'occasion du 50e anniversaire de la première publication du livre mythique de Robert Frank, cette réédition en anglais revue et corrigée par le photographe lui-même est un véritable événement !

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Produits fréquemment achetés ensemble

Robert Frank - The Americans + Stephen Shore: Uncommon Places - The Complete Works + William Eggleston's Guide
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Détails sur le produit

  • Relié: 180 pages
  • Editeur : Steidl Verlag; Édition : Special edition (9 juin 2008)
  • Langue : Anglais
  • ISBN-10: 386521584X
  • ISBN-13: 978-3865215840
  • Dimensions du produit: 18,4 x 21,8 x 2,5 cm
  • Moyenne des commentaires client : 4.7 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
  • Classement des meilleures ventes d'Amazon: 8.363 en Livres (Voir les 100 premiers en Livres)
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5 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 La base de toute bibliotheque photo 24 mars 2010
Par Nicolas Levy TOP 500 COMMENTATEURS
Format:Relié
Tout a deja été dit sur le chef d'oeuvre de Robert Frank.
Publié pour la premiere fois en 1958, l'aura de ce livre est toujours intacte aujourdhui.

Frank nous emmene avec lui dans un road trip initiatique a travers l'amerique des années 50.
Le noir et blanc, le contraste, le grain, le flou, ce livre est tantot sauvage comme un solo de jazz, tantot tranquille et obsedant comme un vieux blues.

On pense aussi beaucoup a "sur la route" de Kerouac qui a d'ailleurs ecrit la preface de ce livre.

Tous les photographes qui lui ont succédé doivent beaucoup a Robert Frank ; c'est l'anti Cartier-Bresson, c'est lui qui les a délivré de la recherche de l'instant decisif, lui qui leur a permis de mettre une part d'eux meme dans leurs images.
C'est presque le pere de la subjectivité en photo.
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0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a "must have" 17 janvier 2014
Format:Relié|Achat authentifié par Amazon
One of the very greatest American photo books of all times, besides "American photographs" by Walker Evans and "William Eggleston's guide", with a Jack Kerouac note : this is pure legend !
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0 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Très beau livre 4 décembre 2013
Par Stéphane
Format:Relié|Achat authentifié par Amazon
Au premier abord, le format un peu petit déçoit. Mais quand on commence à feuilleter le livre c'est superbe. Belle réalisation.
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Amazon.com: 4.6 étoiles sur 5  68 commentaires
88 internautes sur 91 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 RF's masterpiece as work in progress 27 mars 2002
Par Vince Leo - Publié sur Amazon.com
Format:Relié|Achat authentifié par Amazon
Like an elusive text in search of itself, Robert Frank's 1958 book The Americans has changed format each of the four times it's changed publishers. From the text heavy French version to the oversized aperture reprint, Frank has continued to refine his work each time it appears in print.
In the Scalo version, the place-name captions have been removed from the pages opposite the photographs and collected in the back of the book. Forget any ideas you might have of Frank's book being a travelogue. In place of the itinerary, the Scalo edition finally establishes the ORDER of the book's photographs as the crucial ingredient in Frank's complex vision of America. The 83-photograph sequence cuts between elliptical narrative of the open road and comparative sociology of dead-end lives as Frank turns free association into inescapable logic and then back again. The result is the most masterful combination of photographs in book form.
The subjects of Frank's photographs roam this fractured typology like prophets locked in an unstable time loop. Geography no longer takes center stage as the formative element of their photographic selves. In some small but significant way, the americans in the Scalo edition reclaim the intentionality of their sadness, anger, and alienation. The bitter and often unwilling nature of their engagements with Frank take center stage, each as profound an act of refusal as Frank's own denunciation of the pasteboard optimism of '50s America.
40 internautes sur 41 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The definitive "The Americans" 28 juillet 2008
Par D. B. Parker - Publié sur Amazon.com
Format:Relié
We're lucky to have this edition. Robert Frank is an old man with health issues now. That he is healthy enough to oversee this work is wonderful. Everything about this edition - especially in comparison to the 2007 Delpine edition I purchased earlier this year - is first-rate. I wish I had known this was coming out!

The book is a little smaller than the Delpine, but that's the only real negative (if it is one) I can think of. The main thing to me is that the photos themselves are how Frank intended them to look. Gone are the overly-lightened faces that plague the Delpine book. This is a pet peeve of mine that kills many photos in this Photoshop age. This is very obvious in the New Orleans trolley photo. In the Delpine work, the faces of the white passengers are totally washed out, and the black faces are awkwardly lightened (someone apparently thought they were helping Frank's work). That's all corrected here. In this Steidl edition things are shown as they were intended. One can even see details in the face of the man at far left, even though it is partially obscured by a window reflection.

Also, on several photos more of the frame is visible. This was most noticeable to me in the Butte, Montana photo of the woman looking out the car window, with several children in the back seat. A good portion of the left side of the photo is now visible, along with more shown on the top and bottom. The new crop just seems more "right." Not too mention that the face of the child in the middle of the photo is too light in the older edition.

Simply put, comparing the two editions is an eye opener. I first saw these photos years ago in a much earlier edition (I believe it was the 1969 Aperture work) and I still marvel at the depth of the images in that printing. I don't have that edition in hand, so I can't do a direct comparison, but I believe the Steidl images are much closer to that ideal. Franks prefers his images a little on the flat, low-key side. Another difference is that the photos are now printed on a non-glossy paper. I was surprised at this at first, but now I believe it works much better for this book.

In short, if you want an accurate, lovingly-printed edition of The Americans at a reasonable price, this is the one. Highly recommended.
36 internautes sur 38 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Masterpiece That Revolutionized Photography 24 décembre 2004
Par No One Important - Publié sur Amazon.com
Format:Relié
Robert Frank with this small little book changed the course of photography. He changed the way people take photographs. He changed the way we look at photographs. He changed the definition of what was an acceptable or good photograph. The way Monet and Picasso changed how one could paint, Frank changed the way one could photograph.

How did he do this? He basically introduced the "icongraphic photograph" to the world. Take for example, his picture in the Americans of a political rally for Ike. It is of a man standing against a blank wall, playing the tuba. But the tuba's opening obscures his face, all you see is the big blank dark opening of the the tuba where his eyes and mouth are suppossed to be. And then right behind the tuba, almost coming out of it, a flag, an American flag, though shapeless, and formless and it snakes out of the picture. On the man's lapel is a big "For Ike" button. At the time, this was a radical photograph and statement about politics and the role of the individual in political life; remember this was 1957.

There are many many many other photographs like this throughout the Americans: St. Peter taking on City Hall. The American flag covering the faces of the people at a parade. The jukebox everywhere. The signs screaming "No Negroes Allowed" while on the next page is a photograph of an older black women holding in her arms, caring for, a young white baby. Frank clearly asking, screaming, why is it okay for them to care your for babies but not okay for them to use the same toilet as you?

It is a subtle but very powerful book. And once you see it, once you get it, you can never see a photograph the same way again.

He has influenced every photographer who has come after him.

Without Robert Frank there would be no Gary Winograd, Eugene Richards, Gilles Peres, William Klien, Bruce Davidson, Alex Webb, Salgado, Danny Lyon, James Nachtwey, Lauren Greenblatt, Ron Haviv, or Herb Ritts.

This book is the starting point for anyone interested in photography, or at least photography after 1958 when this book was first published.
14 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a SWISS guy with a GERMAN camera taking AMERICAN pictures 29 décembre 1998
Par acangemi@perrone.com - Publié sur Amazon.com
Format:Relié
this is the only book to buy if you are interested in photography. every image is true. if you ever have a chance to view the actual prints, don't miss them. i have learned more about photography from looking at this book than any other source. it is a masterpiece.
14 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A classic of 20th Century Photography 10 octobre 1998
Par Un client - Publié sur Amazon.com
Format:Relié
In 1955, Swiss photographer Robert Frank traveled around the United States on a Guggenheim Fellowship. The images he created were published first in France in 1958, and then the following year in America. Highly controversial in its day, "The Americans" gave us a much needed outsiders view of who we are as a people.
Frank is an incredibly skilled image maker, able communicate on many different levels with a single image. Jack Kerouac is the perfect person to write the intro to this book. Both artists worked in a similar way, using travel, speed and chance to communicate fleeting, yet deep, feelings about our complex culture.
Perfectly enjoyable by anyone with an interest in American culture, but essential for those practicing documentary photography.
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