[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.] […]
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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. […] It is impossible to discuss the “problems of photography criticism” as though they were clearly formulated and widely agreed-upon issues, consciously faced by a diversity of critics familiar with each other’s relative positions, and known to an audience engaged in active observation of critical interactions and the concepts emerging therefrom. This is very far indeed from being the case. […] From the evidence we can draw a clear conclusion: Partners in the Capa Consortium, including Magnum’s members and its administrators, do not scruple to contaminate the record with misinformation, outright lies, falsified “evidence,” and whatever fanciful elaborations they feel like making up concerning Robert Capa’s D-Day experiences and the subsequent fate of his negatives. […] |
 SPJ Research Award 2014 |
Ring In the New: 2016
I found watching the video slideshow of NASA’s chosen images for the 1977 Voyagers’ “golden records” a deeply surreal experience. The selection and sequencing strike me as curious, and, if I experience them that way, what would a sentient being with no knowledge of life on this blue marble make of them? […]