Originally Posted by willie_901
I find it risible to judge the artistic aesthetics of Cappa's D-Day photographs. Comparing them to photographs made under pleasant and relaxed circumstances is naive and superficial.
- Cappa was in the first assault on Omaha Beach.
Separately, whatever Cappa's personal failings might be or how his story may have been amplified or glorified, are irrelevant. Cappa made those photographs under circumstances very few (if any) of us can fully appreciate. Nothing about his life before or afterwards is detracts from what he accomplished during that morning in France.
Capa spells with a lone p.
It now too belongs to the legend and the myth that his girl-friend Gerta Pohorylle named herself "Gerda Taro" to make her newspapers name sounds like Greta Garbo's and that she named her boy-friend "Robert Capa" to make his own sound like Frank Capra's.
But here, this is probably all true.
About Omaha Beach : Coleman says that Capa landed on Omaha Beach with the fourteenth assault wave. That he quickly took eleven photos then went back to London where he arrived on June 7th. That he went back to the beaches of Normandy on June 9th.
Whichever assault wave he was with on the morning of June 6th, he bravely went there, no doubt.
Coleman's work is not at all about despising Capa's photos nor courage. Please re-read what he writes.
He just did an honest historian job so that we can judge on facts, not on the hype John G. Morris, Cornell Capa, Cynthia Young and Richard Whelan all made about it and especially with that melting emulsion hoax.
At the end of that day which is not the D-Day for sure, I agree that some posts in this thread telling about the "artistic" value of Capa's work are totally OT. If there was a kind of "Godwin Point" eq. contest out there for some people always jumping off their horses and shouting "Cartier-Bresson is the best ! Cartier-Bresson is the best !" when the discussion is and by far *not* about him, some here would have won it with all flags down, bells and whistles.