{"id":40965,"date":"2020-06-21T23:45:14","date_gmt":"2020-06-22T03:45:14","guid":{"rendered":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/?p=40965"},"modified":"2021-10-05T13:37:50","modified_gmt":"2021-10-05T17:37:50","slug":"guest-post-30-charles-herrick-on-capas-d-day-n","status":"publish","type":"post","link":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/2020\/06\/21\/guest-post-30-charles-herrick-on-capas-d-day-n\/","title":{"rendered":"Guest Post 30: Charles Herrick on Capa’s D-Day (n)"},"content":{"rendered":"

\"\"<\/a>[From his own account and all other evidence, we know for a certainty that, after making his handful of exposures on the Easy Red sector of Omaha Beach on D-Day, Robert Capa returned to the ship that had brought him to Normandy, the <\/em>USS Samuel Chase, in order to carry the entirety of his invasion coverage personally back across the English Channel to Portsmouth, on the English coast. There he turned it over to a military courier for transportation to Supreme Headquarters Allied Expeditionary Forces (SHAEF), under whose watchful eye it got processed and went through a rigorous censorship process before, ultimately, the approved images got delivered to assistant picture editor John Morris at <\/em>LIFE‘s London office for use in that magazine and distribution to the picture pool.<\/em><\/p>\n

In a previous Guest Post series<\/a>, military historian Charles Herrick dug out the documentation and painstakingly tracked the route Capa’s films would have taken before Morris actually got his hands on them. His analysis made it clear that, in order to meet <\/em>LIFE‘s deadline for its upcoming D-Day issue, Capa believed he had no choice but to leave the invasion front in order to ensure the timely arrival of his films at <\/em>LIFE on the evening of June 7.<\/em><\/p>\n

But that still left several questions unanswered:<\/em><\/p>\n