The first of Capa’s Omaha Beach exposures shows the troops disembarking from the LCI on which Capa arrived. The next to last shows Pfc. Huston Riley, who recalls that immediately after helping to rescue him Capa ran for an outgoing LCI. In his memoir “Slightly Out of Focus,” Capa himself states that after he reached that LCI he made no more images of the battle. Thus the “magnificent eleven” constitute not just what Morris managed to “save” but the entirety of Capa’s take from Omaha Beach. […]
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I believe that a grave violation of the National Press Photographers Association’s Code of Ethics has surfaced in a video presentation from late May of this year on TIME magazine’s website. I am therefore calling on your Ethics Committee to investigate the matter, using the full power of the association’s good standing, influence, and wide membership to publish the findings. If any of the key figures in the production of this deceptive publication hold current NPPA membership, appropriate sanctions should of course follow. […] The TIME video shows all of Capa’s original black & white negatives from June 6, 1944 (only nine of which have actually survived as original camera negatives), plus nine negatives that are purported to be some of the Capa negatives that were supposedly spoiled during development. The trouble is, the negatives TIME displays in this video, which supposedly show some of the spoiled Capa negatives, are totally faked. These negatives are a complete fabrication — and nowhere in the video do the producers explain what they did, how they did it, or why. […] |
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Alternate History: Robert Capa on D-Day (12)
My investigation of the circumstances surrounding Robert Capa’s images of Omaha Beach on D-Day, June 6, 1944, and the subsequent fate of his negatives, continues apace. I will publish some major findings at the end of this month. In the meantime, I’ll fill in some of the blanks in the story so far.
I’ve taken […]