Hiding in the surf behind the disabled assault vehicle as Capa did represented just one option at that juncture. The battle had already begun to move off the beach and up the ridge; Capa could have followed the action and gone along. After all, that’s why LIFE had given him this highly coveted front seat. […]
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Donald Winslow wrote recently in a May 11 Facebook post, “Investigative journalism is a lifetime of uncovering other people’s and government’s lies.” This from the editor of the official journal of the National Press Photographers Association who commissioned a feature article dismissive of our research, violating every tenet of journalistic ethics regarding full disclosure and conflict of interest by publishing the result in “News Photographer.” This man has no shame; his hypocrisy truly knows no bounds. […] In the last analysis, whether working in black & white in the urban social environment or isolating the particulars of a flower or shell insect in their distinctive coloration, Feinstein is still showing us a world filtered through his own inimitable sensibility. Animated by the same spirit, the works of his earlier years and these more recent projects actively enrich and amplify each other. A profound awe in the presence of living things manifests itself in all his pictures. […] There is no evidence whatsoever to support the claim that Capa’s surviving negatives from D-Day were ever the subject of any emulsion sliding or melting. The slight image displacement on Capa’s film resulted from a mechanical problem commonly experienced in that era: Kodak’s shorter film cassettes caused the film to get transported slightly lower in the camera — exposing the emulsion around the lower edges of the top sprocket holes as they passed over the film gate. […] 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. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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