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[Editor’s Note: Combat veteran and amateur military historian Charles Herrick’s crucial earlier posts in this series corrected 70 years’ worth of miscaptioning of one of Robert Capa’s ten D-Day photographs from Omaha Beach, and pinpointed the exact location and approximate time at which he landed on the Easy Red sector with a later wave. In […] It appears that Capa was taking a picture in the general direction of LCI(L)-94 at about the same time someone on that LCI was taking a picture while pointing his lens toward Capa. Comparing the two images, we find the same obstacles are visible in both. […] Because the exhibitors at AIPAD’s 2017 Photography Show at Pier 94 had more space, and represented more diversity (including the exhibitors’ ages, and the consequent ages of those whose work they displayed), what they put on view provided a more accurate cross-section of contemporary practice in photography and photo-based art than ever before. […] Capa scholarship has ignored completely the other photographic records of the morning of the invasion, neither comparing Capa’s images of the scene with documentation by others nor making any attempt to integrate them into the larger visual narrative of that day on Omaha Beach. […] |
 SPJ Research Award 2014 |
Time Capsule 1972: Collier’s Encyclopedia Yearbook
Conceptual art, happenings, and the snapshot aesthetic met again this year, often with better results than expected. Bernadette Mayer, a New York poet, shot an entire 36-exposure roll of color film every day for a month, had them printed by a drugstore processing concession, and mounted “Memory,” a show which included all 1,116 images in sequence, accompanied by a taped monologue which used the photos as a jumping-off place. […]