In my opinion, da Cunha’s work constitutes not only an exemplary achievement in the context of the Capa D-Day investigation but a major contribution to the forensic analysis of photographic materials, one that sets a benchmark for future inquiries. […]
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I just don’t know what makes a picture, really — the thing that makes it is something unique, as far as I can understand. Just like one guy can write a sentence and it’s beautiful and another guy can write it and it’s dead. What that difference is, I don’t know. […] I always felt you can’t make that many good pictures a year. A friend of mine went to Europe for about six months; he came back and he said, “Let’s see what you’ve been doing.” I said, “I’ve only got one picture that’s any good.” And he looked at it and said, “Well, it’s worth a year’s work.” […] In this project we have made and continue to make a collective argument in support of a radical deconstruction of an enduring media myth — arguably the most high-profile myth of photojournalism, one of the most familiar in photo history, and one that has infiltrated the wider territory of cultural history. We have as our goal the presentation of sufficient contextualized evidence and reasoning to persuade even the most skeptical. Toward that end we use every tool at our disposal, with thoroughness and attention to detail prominent among those. […] Take them for what they are: images of the South by people who live there. Some of these photographers are in transition, but then so is the South itself. Some of them will leave, and their work will be molded by other places. But some of them will stay, to put down roots here, to nourish, and be nourished by, whatever the South becomes. […] |
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