{"id":4183,"date":"2014-06-30T23:16:07","date_gmt":"2014-06-30T23:16:07","guid":{"rendered":"http:\/\/re-photo.co.uk\/?p=4183"},"modified":"2014-06-30T23:16:07","modified_gmt":"2014-06-30T23:16:07","slug":"more-on-capa-fraud","status":"publish","type":"post","link":"http:\/\/re-photo.co.uk\/?p=4183","title":{"rendered":"More on Capa – Fraud"},"content":{"rendered":"

I’d not watched the Time video Behind the Photo<\/a> in which LIFE picture editor John G. Morris<\/em> talks through what happened when Capa’s 4 cassettes of 35mm film arrived at the offices in London’s Dean Street. Parts of A D Coleman<\/em>‘s series of posts<\/a> were based on the ‘ruined negatives’ that are displayed in that video as Morris talks.<\/p>\n

I’d not looked at the ‘ruined negatives (stills of which which were reproduced in Coleman’s articles) closely, but photographer Rob McElroy did, and he noticed something very strange. What are presented as contact prints from the ruined negatives are clearly identical to the good negatives except that the image area has been whited out and the frame numbers removed. Simply a rather poor piece of Photoshop. Given that they have identical scratches and marks there can be no doubt that this is a crude forgery, and represents a clear attempt to deceive the viewer. You can read McElroy’s guest post on Photocritic International<\/a> and the images in it are absolutely convincing.<\/p>\n

On the video itself Morris actually gives a very clear description of the films, despite sticking to the fiction about them melting in the drying cabinet, when he says he \u201cheld up the rolls one at a time, and there was nothing on the first three rolls, but on the fourth roll there were 11 frames that had images\u2026<\/em>\u201d<\/p>\n

There was \u2018nothing<\/strong>\u2019 on the first three rolls. In other words they were just clear film. Greatly underexposed. Nothing to melt, nothing to be lost in the drying cabinet. Capa had underexposed the film that he took before the actual landing so badly that nothing was recorded. The contact prints from the actual negatives would have been black and not white. And of course the totally blank films were thrown away.<\/p>\n

When Capa stood on the landing craft watching the soldiers making their way to the beach that there was enough light to record on the film, and when he was on the beach. Those were the frames that could be printed \u2013 and the only frames that he took of the actual landing.<\/p>\n

In Part 8 of his series<\/a>, Coleman accuses Adrian Kelterborn<\/em> of Magnum Photos<\/em>, in collusion with Cynthia Young<\/em> of the International Center of Photography<\/em> and Mia Tramz<\/em> of TIME<\/em> of deliberately concocting a fraud in “blatant violation of professional ethics in the field of photojournalism, as articulated in the Code of Ethics of the National Press Photographers Association (NPPA)” and he posts a copy of his letter of complaint to Sean D. Elliott of the NPPA\u2019s Ethics Committee\u00a0 urging an investigation of the matter. And as he says, surely John Morris must have seen and approved the final version of the video and thus share responsibility for the deception.<\/p>\n","protected":false},"excerpt":{"rendered":"

I’d not watched the Time video Behind the Photo in which LIFE picture editor John G. Morris talks through what happened when Capa’s 4 cassettes of 35mm film arrived at the offices in London’s Dean Street. Parts of A D Coleman‘s series of posts were based on the ‘ruined negatives’ that are displayed in that … Continue reading More on Capa – Fraud<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[8,6,2],"tags":[],"class_list":["post-4183","post","type-post","status-publish","format-standard","hentry","category-photo-history","category-photo-issues","category-photographers"],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/4183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4183"}],"version-history":[{"count":1,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/4183\/revisions"}],"predecessor-version":[{"id":4184,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/4183\/revisions\/4184"}],"wp:attachment":[{"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4183"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/re-photo.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}