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This provides further evidence that all the incoming D-Day film from LIFE’s assigned photographers underwent stringent censorship before John Morris ever laid eye on it — the Occam’s-razor explanation for the missing first portion of Capa’s lone 35mm roll of Omaha Beach exposures. […]
This document proves that John Morris was fully aware of, and an active participant in, that SHAEF/MoI censorship system, which fact he conveniently failed to mention in all of his subsequent accounts of the fictional darkroom disaster that supposedly “ruined” Capa’s D-Day films. […]
Recent research has uncovered a treasure: the protocols for annotating and processing incoming films from the photographers assigned by LIFE magazine to cover the D-Day invasion. It is dated May 8, 1944, less than a month before the event. […]
Much as I might wish it were otherwise, in considering the Museum of Modern Art’s latest photography exhibit and catalogue New Japanese Photography it proves impossible to discuss the photographs themselves without simultaneously analyzing the show and book. […]
As I’ve done previously, I’ll discover/rediscover my purpose through the daily practice of my craft. Along the way I’ll find the answer to this question: What does an octogenarian writer have to say? […]
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SPJ Research Award 2014
Thought for the Day Ignorance is a condition; dumbness is a commitment.
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Cabin Fever: Bits and Pieces (2024)
As I’ve done previously, I’ll discover/rediscover my purpose through the daily practice of my craft. Along the way I’ll find the answer to this question: What does an octogenarian writer have to say? […]