So AI has already begun to infiltrate the field of photo history. I suspect the full onslaught of AI degradation lies not far ahead. And it ain’t pretty. For the moment, I’ll just make this prediction regarding Capa D-Day-related AI slop: Après ça, le déluge. […]
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Michals embraced the theatrical frame and the directorial mode; for him the viewfinder is a proscenium, models are dramatis personae. Another benchmark of his work is its exploration of the forbidden. A third is his insistence on stretching the boundaries of what a photograph is allowed to be. A fourth is the profoundly sacral essence of his seemingly profane and deeply disturbing vision. […] Salgado combines what Fred Ritchin calls a “stately lyricism” with an alertness to the drama embedded in the everydayness of hardscrabble subsistence, marginal survival and imminent death. […] At this point there remains just one aspect of Capa’s D-Day adventure left to examine: his departure from Omaha Beach aboard LCI(L)-94 (which stands for Landing Craft Infantry (Large)-94). Let’s see how his description of this phase of his adventure stands up to scrutiny. […] |
 SPJ Research Award 2014 |
Nevertheless, They Persisted (1)
I have served as an expert witness in Graham v. Prince et al (15‑cv‑10160) and McNatt v. Prince et al (16‑cv‑08896), providing my services pro bono. This included drafting a written statement on behalf of the plaintiffs — responding to a specific set of questions posed by the lawyers for Graham and McNatt — and sitting through an extensive deposition by Prince’s high-priced lawyers. […]