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Nevertheless, They Persisted (3)

This raises another question broached by Brian Wallis — his assertion that, as a general principle, “comment” automatically constitutes an “alteration” even when said “comment” comprises nothing more than what Mr. Prince acknowledges is “gobblygook” (sic). If even incomprehensible prose inherently represents the activity we call “commenting,” then all speech qualifies as commentary, in which case the “comment” requirement of the “fair use” exception becomes meaningless. […]

Alternate History: Robert Capa on D-Day (49)

In this project we have made and continue to make a collective argument in support of a radical deconstruction of an enduring media myth — arguably the most high-profile myth of photojournalism, one of the most familiar in photo history, and one that has infiltrated the wider territory of cultural history. We have as our goal the presentation of sufficient contextualized evidence and reasoning to persuade even the most skeptical. Toward that end we use every tool at our disposal, with thoroughness and attention to detail prominent among those. […]

Spring Ahead: Bits & Pieces 2021 (2)

Herewith a shout-out to photographer Lynn Goldsmith, who won an extremely important battle over copyright issues and “fair use” that will serve as a precedent in many ongoing and future cases. […]

Guest Post 31: Robert Dannin on Eugene Richards’s “the day I was born” (a)

In my opinion, Eugene Richards stands out as the most important photojournalist of his generation. Often imitated, yet seldom surpassed, his work embodies the values he defends. In early 2019 Richards returned to the Delta where he reconnected with old acquaintances and met others willing to discuss the impact of the Civil Rights movement on their lives. […]

Alternate History: Robert Capa on D-Day (45)

We can date John Morris’s active involvement in generating the Capa D-Day myth to sometime during the summer or fall of 1954, when, as Executive Editor of Magnum Photos, he wrote the captions for a posthumous Capa portfolio that would appear in the 1955 edition of U.S. Camera Annual. […]