He quickly made contacts that stood him in good stead: Robert Frank, with whom he shared a darkroom/studio[3] and fast friendship, and Walker Evans, whom he'd long admired, who introduced him to Alexander Liberman at Vogue.

[6]Faurer experimented with blur, grain, double exposures, sandwiched negatives, reflections, slow film speeds, and low lighting.

His 1950 photographs of Robert Frank and his new wife Mary at the San Gennaro Festival in New York [1] are a case in point, exploiting maximum-aperture shallow depth of field, reflections and halation of out-of-focus light sources for intimate, romantic results.

One of the series attracted the attention of curator Edward Steichen who included it in the world-touring Museum of Modern Art exhibition, The Family of Man, seen by 9 million visitors, and in its catalogue, which has never been out of print.

[citation needed] Faurer spoke of his “intense desire to record life as I see it” as his only motivation: “As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going.”[9] The late Walter Hopps, who was curator of American art at the Corcoran Gallery of Art and the Smithsonian's National Collection of Fine Arts, commented on Faurer's work: I am in awe of the high point he can reach in a photograph such as Family, Times Square, at the center of New York in the center of our century.