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. […]
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Somehow, despite the separate and combined successes of K-12 photo-education, visual literacy, and media literacy, the ability to attend closely and thoughtfully to photographic images, and to analyze and evaluate them critically, has yet to become a widespread skill among the populace at large. This does not bode well for the future. […] What gets scanted is “photography literacy,” the ability to understand, analyze, and have a critical relationship to still photographs of any kind, perhaps most importantly those one did not make oneself — the grounding necessary to “read” those images, valued as the visual equivalent of reading comprehension in relation to written texts not of one’s own devising. […] From my outsider’s perspective, the visual literacy movement has possibly missed an important boat by failing to recognize the relevance, significance, and longevity of the K-12 photo-education movement, and by not encouraging or even undertaking the creation of an annotated history thereof. […] 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. […] |
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