This provides further evidence that all the incoming D-Day film from LIFE’s assigned photographers underwent stringent censorship before John Morris ever laid eye on it — the Occam’s-razor explanation for the missing first portion of Capa’s lone 35mm roll of Omaha Beach exposures. […]
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This document proves that John Morris was fully aware of, and an active participant in, that SHAEF/MoI censorship system, which fact he conveniently failed to mention in all of his subsequent accounts of the fictional darkroom disaster that supposedly “ruined” Capa’s D-Day films. […] In the end, it seems fittingly ironic that the Occam’s-Razor explanation for all of Capa’s missing D-Day negatives turns out to be the scissors of the censor. The legend of the lost negatives resulted from nothing more or less than the needs of Capa’s outsize ego. […] I have come to believe that Capa’s actions on D-Day resulted from considered planning and calculated risks. He knew that he would have only a short time on the beach. He knew that he had to get back quickly to some ship — preferably the Chase, but if not another — in the convoy scheduled to depart at noon for the English coast. That represented his only hope of getting his films to LIFE on time. […] This note in Peter Caddick-Adams’s massive study, “Sand and Steel: The D-Day Invasions and the Liberation of France,” provides evidence that our research has begun to affect the field of military history as well. […] |
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