In the half-century of its existence SPE transformed itself from its original form as an unofficial, photo-specific splinter division of the College Art Association into something akin to photography’s equivalent of the Audubon Society: $20 plus an interest in birds gets you in — and they’ll waive the interest in birds. […]
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Kershaw in this 1984 book reproduces the first nine of Capa’s ten Omaha Beach 35mm images, commenting on each one in turn. Unfortunately, those annotations do not reflect well on Kershaw’s knowledge of photography or military equipment, nor on his ability to pay close attention to the evidentiary data encoded in photographs. […] Though it did not center around Capa’s D-Day photos and the related myths, this book’s author felt it necessary to address our research, if only to dismiss it. When even the author of a bit of Capa trivia finds it necessary to engage with our deconstruction of the Capa D-Day legend, that’s progress, and it augurs well for the future of Capa studies. […] Lavoie does not intend to contribute to or assess the actual substance of Capa-related research, merely to comment on its semantics. He contents himself with analyzing the language in which that research gets conducted, in order to show that it contains aspects of forensic and juridical rhetoric. Therefore … what, exactly? […] This makes the Capa portions of Landing on the Edge of Eternity a sorry display of little more than copying and pasting that masquerades as historical research and analysis. […] |
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