Collectively, Arbus, Friedlander, and Winogrand revised the ways in which photographers used their cameras, which changed the look of the resulting photographs, and that they made the photographer’s participatory role in the photographic event a foregrounded given, which transformed both the behavior of photographers and the way we interpret their work. […]
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This non-political, anti-theoretical posture denies categorically and consistently that such photographs are in any way about their literal subject matter, insisting instead that photographs are entirely about themselves and in no way concerned with either the photographer’s inner life or whatever took place in front of the lens at the moment of exposure. As a stance, it became not just widespread but almost mandatory among practitioners of this genre of photography. […] By energetically promulgating the Capa D-Day myth, disregarding contrary evidence in its own holdings, obstructing independent research about Capa, and falsely claiming not to possess key archival materials that it has held for years (among other sins), ICP has besmirched its reputation as a responsible repository and a credible research institution. […] The myth of Robert Capa’s D-Day, as publicly initiated by Capa himself, constitutes a classic example of the form of fraud referred to disdainfully by those in the military as “stolen valor.” […] [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 […] |
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