Intermittent enemy artillery fire covered the area of the “Roman ruins” on the Easy Read sector of Omaha Beach, where Capa landed, but it primarily targeted larger landing craft, and was not capable of stopping an infantry advance. The area of the ruins was in fact a seam in the enemy defenses, one that would prove fatal to the Germans and a godsend to the Americans. […]
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In terms of our initial “mission statement,” the project was over a long time ago. Originally the project goal was to donate work to 10 or perhaps 15 museums, with a total estimated “gallery retail” value of $150,000. As of today we are at 82 museum donations and the donated print value appears to be $2,211,750, with additional museums still on my “active” list. […] The “giving back” aspect [of The Museum Project] was intended for all museums that have supported photography historically, and initially I was more interested in locating museums that appeared more prone to use the donated work — either university “teaching museums” or smaller museums with an active photography-exhibition calendar. […] 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. […] Capa’s two photos have become iconic images symbolizing inertia, fear and even the failure of nerve of the common soldier on the beaches of Normandy. What a travesty that these men who made decisive contributions to the success of the campaign, despite every danger and hindrance, should have become poster boys for lack of resolve under fire. And all as the result of a caption that told the wrong story. […] |
 SPJ Research Award 2014 |