Does it strike anyone else but me as strange that historians will go scrabbling around in the leavings of defunct, reticent, privileged amateurs like Alice Austen and Marjorie Content rather than grapple with the significant, published output of a living, breathing photographer who has functioned independently from the beginning and, without family wealth or husband to rely on, found ways of supporting herself and her work outside the academy and the grants system? […]
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In place of the established myth, with its enticing melodrama, I supplied an alternative tale with its own attractions, a complex skein of personal and interpersonal motivations: camaraderie, fear, failure, guilt, self-protection, white lies. No less rewarding, I’d like to think, just in a different way. […] The fact that this roll, along with the other films most likely classified top secret, got developed in LIFE‘s darkroom under the supervision of not just darkroom chief H. C. “Braddy” Bradshaw and LIFE staff photographer Hans Wild but also a SHAEF custody officer, precludes any possibility of some fatal neglect during processing. […] Nothing about this time-consuming yet vital censorship process was included in Morris’s version of the film saga. It is Morris’s deliberate avoidance or trivialization of the topic that raises suspicion that there must have been much more than he was willing to discuss. […] The Capa D-Day myth persists, as we can see from recent reiterations thereof. It will take time to dislodge it, and that may never happen completely; it’s become a meme, viral even before the web. But our efforts have borne fruit, as a result of which those who do repeat it from now on will brand themselves as lazy and irresponsible in the minds of more knowledgeable people. […] |
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