We can say with confidence that, as of now, anyone doing even cursory research on Capa’s D-Day photos will at least come across reference to our project. And anyone pushing further by seeking additional information will find direct links to the project itself. That in itself bodes well. […]
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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. […] |
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