If Mr. Frank could not escape our awareness of him as the maker of The Americans, he certainly has refused to rest on that laurel, and doggedly resisted our defining him by it. He’s made any attempt to place him on a pedestal or elevate him to a pantheon as difficult as any major artist I know of, past or present. […]
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In the half-century of its existence SPE transformed itself from its original form as an unofficial, photo-specific splinter division of the College Art Association into something akin to photography’s equivalent of the Audubon Society: $20 plus an interest in birds gets you in — and they’ll waive the interest in birds. […] In place of the established myth, with its enticing melodrama, I supplied an alternative tale with its own attractions, a complex skein of personal and interpersonal motivations: camaraderie, fear, failure, guilt, self-protection, white lies. No less rewarding, I’d like to think, just in a different way. […] The fact that this roll, along with the other films most likely classified top secret, got developed in LIFE‘s darkroom under the supervision of not just darkroom chief H. C. “Braddy” Bradshaw and LIFE staff photographer Hans Wild but also a SHAEF custody officer, precludes any possibility of some fatal neglect during processing. […] |
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