[Note, March 14, 2016: This post, originally published on March 13, contains the first serious error made in the course of this investigation to date: I mistook footage of the battle of Dieppe, August 19, 1942, for footage of D-Day almost two years later. Carelessness on my part, for which I offer no excuse, only […]
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It is now about 57 years since Bob admitted to me that he had “taken a swing” at the guy [John Morris], so I am really hazy about this. Bob never went into details and although this loss [of his D-Day film] was obviously an event he would never forget, his philosophy was that “Life is too short to hate anyone or bear a grudge.” […] [My late husband Bob Landry made no published] comment … about the Normandy invasion. He did tell me that his film had been lost through the incompetence of a guy in the London office who was supposed to make secure arrangements for its delivery to London. [This would have been John Morris, then assistant picture editor in LIFE’s London darkroom. — A. D. C.] […] The language currently applied to photographs as distinct from other kinds of images is derived entirely from the jargon of technique; it is a form of shop talk which pertains to the manufacturing of photographs as objects rather than to their workings or effects as images. […] |
 SPJ Research Award 2014 |
Spring Fever 2016: Bits & Pieces (1)
In “Virginibus Puerisque” (1881), Robert Louis Stevenson noted that “Enthusiasm about art is become a function of the average female being, which she performs with precision and a sort of haunting sprightliness, like an ingenious and well-regulated machine.” In the emerging android era we won’t need what Tom Wolfe dubbed the “culture buds” to perform this task; there’s an automaton for that. […]