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Alternate History: Robert Capa, John Morris, and the NPPA (3)

I can only describe the National Press Photographers Association’s Donald Winslow and Bruce Young, the writer to whom he assigned the magazine’s report on this blog’s investigation of Robert Capa’s actions on D-Day and the subsequent fate of his images, as severely compromised from the outset of their coverage of our research relating to Capa and his picture editor at the time, John Morris. […]

Alternate History: Robert Capa, John Morris, and the NPPA (2)

Donald Winslow’s motives for requiring Young’s adherence to the “he said, she said” structure seem clear: He had the NPPA’s commitments to the reputations of Capa and Morris to protect, not to mention its long-term involvement with Morris. No other approach could sidestep the obligation of judgment, enable Morris to retain a shred of credibility on this subject, and otherwise minimize the damage. […]

RICO Case Against Ferguson, MO

Today, March 17, 2015, at We the People — The White House, I initiated a petition to the Obama Administration to “order the Dept. of Justice to initiate a RICO case against the city government, courts, and police force of Ferguson, MO.” […]

Alternate History: Robert Capa, John Morris, and the NPPA (1)

We must consider the decision by Donald R. Winslow of the National Press Photographers Aassociation (NPPA) to employ a suspect journalistic approach for this particular article — the discredited “he said, she said” model — and his choice of writer to practice it on this set of issues as calculated, not inadvertent, and definitely not ignorant or uninformed. […]

The Photographer and the Painting (5)

Instead of securing licenses for all these replications of other photographers’ works, Sandro Miller relied instead on a legal opinion interpreting the “fair use” exception to the copyright law as covering these restagings. I don’t see how simply replicating a scenario with John Malkovich substituting for the original subject comments in any significant way on the image from which its iconography derives. With all other elements of each image duplicated as faithfully as possible, is Malkovich’s presence in and of itself “transformative”? […]