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Guest Post 16: Rob McElroy on Robert Capa, 2 (a)

If Whelan or Young had done their due diligence by consulting photography experts to learn why the image area of Capa’s negatives had encroached on the sprocket holes on one side of the film, they never would have floated such an easily disprovable theory in public. The real reason the sprocket holes along one edge of Capa’s ten D-Day negatives became partially exposed had nothing to do with any supposed emulsion slide from when the film was processed and dried. The cassettes containing the film caused the problem. […]

Time Capsule 1974: Collier’s Encyclopedia Yearbook

I took the assignment of writing this annual round-up of events in the photo world as an opportunity to create a time capsule of sorts for users of Collier’s Encyclopedia. I just came across the one that appeared 40 years ago in the 1975 edition of the Yearbook, synopsizing the year 1974 (and the last months of of 1973). Here it is. […]

Forgotten Laurels: John Szarkowski and Cornell Capa (1995)

Looking at John Szarkowski’s photographs and Cornell Capa’s, asking myself — based on that early evidence of personal tendency and taste — which of the two had surprised me most as advocates for photography by transcending the narrow-mindedness to which performers in any medium are prone in order to create an institutional environment with an atmosphere of tolerance and encouragement for all, the unequivocal answer that came was Cornell Capa. […]

Alternate History: Robert Capa on D-Day, 20

Morris has told this story hundreds of times since 1947, almost word for word every time (to judge by the dozens of such performances on record in print, audio, and video formats). Suddenly, at the age of 98, he conveniently recalls a crucial new detail for the very first time. I find it impossible to take seriously Morris’s recovered memory of the purported “advance packet” he now claims to have received on June 7, 1944 containing Capa’s pre-invasion films. […]

Alternate History: Robert Capa on D-Day (16)

Richard Whelan’s account of Capa’s D-Day films qualifies as neither competent research nor responsible historianship. It constitutes the desperate Hail Mary pass of the terminally compromised and corrupted hireling. A perfect illustration of the dilemma of the bespoke, in-house curator and historian in the employ of the subject, or his or her estate, or some other entity with a vested interest in the outcome of the research. […]