These represent the types of pointed questions that you’d get asked by a serious interviewer who’d done his research — not someone kissing up to you, like Bob Pledge at the ICP, and not someone invested in feeding the Capa legend, like his biographer or the curator of his archive. […]
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The falsifying of evidence related to Robert Capa’s D-Day negatives by TIME magazine and the International Center of Photography did not begin with the forged negatives discovered by Rob McElroy in the May 29, 2014 TIME video. […] I believe that a grave violation of the National Press Photographers Association’s Code of Ethics has surfaced in a video presentation from late May of this year on TIME magazine’s website. I am therefore calling on your Ethics Committee to investigate the matter, using the full power of the association’s good standing, influence, and wide membership to publish the findings. If any of the key figures in the production of this deceptive publication hold current NPPA membership, appropriate sanctions should of course follow. […] The TIME video shows all of Capa’s original black & white negatives from June 6, 1944 (only nine of which have actually survived as original camera negatives), plus nine negatives that are purported to be some of the Capa negatives that were supposedly spoiled during development. The trouble is, the negatives TIME displays in this video, which supposedly show some of the spoiled Capa negatives, are totally faked. These negatives are a complete fabrication — and nowhere in the video do the producers explain what they did, how they did it, or why. […] |
 SPJ Research Award 2014 |
Guest Post 14: Q&A with John Morris (a)
The first of Capa’s Omaha Beach exposures shows the troops disembarking from the LCI on which Capa arrived. The next to last shows Pfc. Huston Riley, who recalls that immediately after helping to rescue him Capa ran for an outgoing LCI. In his memoir “Slightly Out of Focus,” Capa himself states that after he reached that LCI he made no more images of the battle. Thus the “magnificent eleven” constitute not just what Morris managed to “save” but the entirety of Capa’s take from Omaha Beach. […]