The film presents Robert Frank and – in the course of ‘workshop talks’ – his influence on the following generations of photographers such as Garry Winogrand and Lee Friedlander, all the way to younger, up-and-coming photographers. The camera documents their different working methods, shows their techniques and follows them on the streets of New York and Los Angeles, as well as in the suburbs and the countryside.
The early significance of photography as an art form in the USA represents a historic axis in the film. This is particularly emphasized by the inclusion of two influential teachers and photographers, Harry Callahan and Lisette Model.
The German Film and Media Rating Board primarily uses his highest rating to assess the film's particularly informativ value. In this case the film has succeeded in documenting the specific individuality of fundamental representatives of modern American photography since the early 1950s. This refers to both their methods of working and personal means of expression, as well as to their overall attitude toward photography. THe common denominators among them are the immediate way in which they capture everyday reality and their efforts to allow people and things to speak for themselves. For some, the matter at hand stands exclusively in the foreground, others strive to make reality transparent for subjects that common sense tells us is itangible.
In each case the film succeeds in depicting the artistic principle as shown in the photos once again in the way the photographers are characterized via words and footage. This occurs accompanied by the distinct "feel" for each person'swork atmosphere. The successful coupling of film footage and stills thereby proves to be an intriguing element.