With great hubris, Rick Smolan and David Cohen were going to reinvent photojournalism. The first tactic of this radical makeover: ignore conventional reportage by dispersing photographers to randomly selected venues and inviting them to burn as much film as possible in a 24-hour period. […]
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We were about defending and expanding interpretive multiplicity beyond the ideological vanishing point to a place where all sides of the conflict became visible — combatants and civilians caught in the crossfire. The more coverage the better. To me there was no such thing as too many pictures. […] After Robert Capa’s death, Cornell Capa took physical possession of his negatives, handling licensing rights for Robert’s photos and writings, including passages from Slightly Out of Focus. This ensured that the string of subsequent Capa books, and books in which Capa’s images appeared — whether or not published directly through Cornell — frequently reiterated the D-Day myth. […] |
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