I’ve tracked the uproar over The Stringer since it first became news. Watching all this unfold has evoked a number of ruminations — not just on that photo, the film, and the charges involved but on the forensic investigation of photographs as a project. […]
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Charles Herrick, who has provided most of the military-related analysis published here as part of the Capa D-Day project, has distilled that material into a new book, Back into Focus: The Real Story of Robert Capa’s D-Day. […] 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 |