It is now about 57 years since Bob admitted to me that he had “taken a swing” at the guy [John Morris], so I am really hazy about this. Bob never went into details and although this loss [of his D-Day film] was obviously an event he would never forget, his philosophy was that “Life is too short to hate anyone or bear a grudge.” […]
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@adcoleman@hcommons.social
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[My late husband Bob Landry made no published] comment … about the Normandy invasion. He did tell me that his film had been lost through the incompetence of a guy in the London office who was supposed to make secure arrangements for its delivery to London. [This would have been John Morris, then assistant picture editor in LIFE’s London darkroom. — A. D. C.] […] The language currently applied to photographs as distinct from other kinds of images is derived entirely from the jargon of technique; it is a form of shop talk which pertains to the manufacturing of photographs as objects rather than to their workings or effects as images. […] It is impossible to discuss the “problems of photography criticism” as though they were clearly formulated and widely agreed-upon issues, consciously faced by a diversity of critics familiar with each other’s relative positions, and known to an audience engaged in active observation of critical interactions and the concepts emerging therefrom. This is very far indeed from being the case. […] |
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Film the Police (3)
You lack even the fundamental honesty to admit that the FBI today, under your leadership, commits criminally negligent, brutal, violent, murderous, and otherwise outrageous acts on the citizenry. Surely it’s noteworthy that the FBI itself makes no annual public report of its own grievous errors. No surprise, then, that you approach the collection of such information about police departments lower down the food chain in such a lackadaisical manner. […]