The contrast between the world outside the hospital, where the physically well cannot find relief from emotional pain, and the world inside the second of Julio Mitchel’s “Two Wards,” is the photographer’s major point. It emerges from neither of these two essays separately; it is created by their combination. […]
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These are not cheerful photographs. They are direct, and specific metaphors for what would seem to be a profound and prolonged suffering which encompasses impotence, fear, deprivation, and loss. Their power resides in the preciseness with which they describe not merely what the eye has seen but what their maker has experienced. […] In conjunction with the 80th anniversary of D-Day (and the 10th anniversary of the Capa D-Day project), several prominent U.S. websites published features that referred to our investigation and treated it respectfully, as a reliable source of information and a counterbalance to the prevailing myth. […] We can say with confidence that, as of now, anyone doing even cursory research on Capa’s D-Day photos will at least come across reference to our project. And anyone pushing further by seeking additional information will find direct links to the project itself. That in itself bodes well. […] This provides further evidence that all the incoming D-Day film from LIFE’s assigned photographers underwent stringent censorship before John Morris ever laid eye on it — the Occam’s-razor explanation for the missing first portion of Capa’s lone 35mm roll of Omaha Beach exposures. […] |
 SPJ Research Award 2014 |