The relationship between photographer and sitter is, at best, an intimate collaboration that serves mutual purposes. This photograph of Lucy Parsons by Paul Grottkau is a perfect example of that truism, and quite possibly a conscious attempt to seize control of the public narrative from a hostile media. […]
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Bob Landry’s landing film was not lost, nor is it missing. It’s right before our eyes. We don’t recognize it as such because we expect his first film to show scenes from D-Day. But there is no Landry film from D-Day, for the simple reason that, apparently, he did not land on D-Day. Certainly there is no evidence that he did. […] Film that did make it off the beach and back to London had to face two additional obstacles. First, would the censors pass it? The second obstacle was perhaps the most daunting: would anyone care about the images? […] The evidence, then, suggests that while his connection to Robert Capa mattered deeply to Morris on both personally and professionally, for Capa the relationship on those levels proved more peripheral — at least until the brief year between his hiring of Morris for Magnum and his death in Vietnam. Not a two-way street, in short, though Morris takes pains to intimate otherwise. […] It is now clear that Grottkau consistently supported himself as a professional photographer and studio owner while concurrently leading both local and national socialist labor movements. This fact, long overlooked, is not insignificant to the history of both American photography and American political history. […] |
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