Most significant in his response to my review of his 1985 Robert Capa biography is Richard Whelan’s refusal here to consider, or reconsider, the technical implausibility of the London darkroom explanation, a mistake he inexplicably continued to compound right up to 2007. […]
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I have come to think of Donald Trump not only as exemplifying the Bad Clown but as embodying that nightmare’s apotheosis; he has turned himself into the Republic Party’s version of Steven King’s Pennywise. Indeed, these early days of the campaign resemble nothing so much as a remake of IT, with the rest of the pack banding together as The Losers Club, […] Gabriel Coutagne’s diatribe in Le Monde pretends to engage with the evidence of our Capa D-Day investigation, but misrepresents and/or misunderstands almost all of it. His elementary mistakes suggest that he either (a) didn’t read large chunks of our research, or Patrick Peccatte’s excellent summary thereof, or (b) read it too hastily and misconstrued it, or (c) has difficulty understanding written English. […] As for the assertion by Morris’s business partner Robert Pledge that this world-famous picture editor who spent much of his working life talking daily with professional photographers and custom printers and darkroom staffers, handling prints and negatives, his offices just a few steps away from professional darkrooms, has absolutely no idea what goes on in those oh-so-mysterious places — risible, no? […] |
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Dog Day Afternoons: Bits & Pieces (7)
Now we have a fresh example of the visual manifestation of systemic racism: The decisions made by NBC News, CNN, BBC, People magazine and hundreds of other news outlets to pair a formal, official portrait of accused murderer Ray Tensing, smiling and posing proudly in his police uniform with the American flag right behind him, with the mugshot of his victim — a glum Samuel DuBose in a white t-shirt. […]