Robert Frank's The Americans is one of most photography persuasive books. The book The Americans is an extraordinary collection of white and black photographs. Frank shot these photographs, while on a tour as a Guggenheim Fellow in 1955-56. The collection transformed photography with its dingy depiction of America. The collection questions American’s postwar optimism and wholesomeness. Frank’s view of America was unwelcoming; his white and black prints were regularly indistinct, coarse and off-kilter in the alignment, nothing like what had been seen in leading magazines and newspapers. Frank’s pictures resonated with profound unspoken facts, foreshadowing the social disorder that would later come (Robert, 1958).
Robert Frank's The Americans reformed the direction of the twentieth-era photography. In the 83 photographs, Frank was able to scrutinize the surface of the American life, to expose people afflicted by racism, ill-aided by their politicians and portrayed numb by a swiftly expanding ethnicity of consumption (Alexander, 1997). Nevertheless, he similarly found fresh areas of exquisiteness in absolute, flouted places of the American life. Frank used his subject matter which involved jukeboxes, cars, and even the road itself to redefine the icons of America. Frank’s apparent intuition, instantaneous, off-kilter flair in addition to his technique of skillfully linking his photographs together theoretically, thematically, linguistically, and formally, made The Americans inventive (Robert, 1958).
The American’s iconic rank lays both in the work itself and what it signifies. Frank saw and presented an expression to significant undercurrents, which were developing across America. They included poverty, racism, a culture of consumerism, growing disconnection or alienation, and shady politics. Nevertheless, with an outsider’s viewpoint, drawn to and identifying with outsiders, Frank photographed the same America, that everybody resided in and knew (Robert, 1958).