About This Episide

A little history.  Born as Endre Friedman in Hungary 1913.  His career as a photographer started in 1932, when he was sent to Copenhagen to photograph Leon Trotsky.  In 1933 he was force to leave Germany, and went to Paris, where he met Gerda Pohorylle (later Taro). In 1936 due to scarcity of sales, both invented a glamorous and elusive American photographer Robert Capa.  She would tour newspaper editors and sell his images as Robert Capa.  Very quickly he became famous.
When the ruse was discovered Endre realized that he would have to live up to the standards and reputation of Robert Capa. 
In 1936 he began covering the Spanish Civil war, with Gerda.  This is when his famous photograph of the Spanish Loyalist being fatally shot. There is a bit of controversy surrounding that image, saying its posed or not created in the region it said etc. 
During this coverage Gerda was killed.  Endre never really recovered from his grief, and in 1938 he traveled to China with a dutch filmmaker who was covering the resistance to Japanese invasion. 
After returning to Spain and covering the departure of International Brigades, his images were published in a prestigious photography magazine Picture Post, and was named the greatest war photographer in the world.  
After World War II, Robert Capa, Henri Cartier-Bresson, Chim, George Rodger, and William Vandivert founded Magnum, a cooperative photo agency. Capa devoted his time to the operations of Magnum and enthusiasm for young photographers who he invited to the agency, encouraged them, got them assignments.
During the late 40s he collaborated with literary friends. in 1947 he spent a month traveling the Soviet Union with John Steinbeck. They produced a book “A Russian Journal”, juxtaposed Steinbecks text and Capa’s pictures.
In 1954 he accepted an assigment from magazine “Life”, to Indochina.  He was covering the French war there, and while photographing French soldiers, on may 25 1954, he stepped on a mine and was killed.
John Steinbeck wrote “Capa knew what to look for and what to do with it when he found it.  He knew, for example, that cannot photograph war, because it is largely an emotion.  But he did photograph that emotion by shooting beside it.  He could show the horror of a whole people in the face of a child.  His camera caught and held emotion.
“Most historians agree that the first appearance of the term Generation X” was verbalized in 1953, by war photographer Robert Capa, almost a decade before the actual folks were born and officially christened as Generation X. Capa’s “Generation X” described young people with a fatalistic view of the future. The label read like an aimless particle in space or an unknown variable in an algebraic expression. If one cannot understand it, X is a placeholder until further study can manifest a clearer definition.”
“In order to preserve the photographic heritage of Capa and other photographers, Cornell (his brother) founded the International Fund for Concerned Photography in 1966. To give this collection a permanent home he founded the International Center of Photography in New York City in 1974.”
“In 1995, thousands of negatives to photographs that Capa took during the Spanish Civil War were found in three suitcases bequeathed to a Mexico City film-maker from his aunt. In 1939, after Capa fled Europe for America during World War II, these negatives were left behind in a Paris darkroom and they were assumed lost during the Nazi invasion of Paris. It is not known how the negatives traveled to Mexico, but apparently Capa asked his darkroom manager, a Hungarian photographer Imre Weisz, to save his negatives during 1939 and 1940. Jerald R Green, a professor at Queens College, was informed by a letter from the Mexican film-maker about this discovery. In January 2008, the negatives transferred to the Capa estate, but the Mexican film-maker has asked to remain anonymous.
The International Center of Photography organized a travelling exhibition titled This Is War: Robert Capa at Work which reexamines Capa’s innovations as a photojournalist in the 1930s and 1940s with vintage prints, contact sheets, caption sheets, handwritten observations, personal letters and original magazine layouts from the Spanish Civil War, the Second Sino-Japanese War and World War II. The exhibition has been on display at the Barbican Art Gallery and the International Center of Photography of Milan and was on display at the Museu Nacional d’Art de Catalunya until September 27, 2009. It then moved to the Nederlands Fotomuseum from October 10, 2009 until January 10, 2010.”
Funny thing is… his famous D-Day photo of the soldier on the beach is almost impressionistic. Even though we (“we” meaning “photographers”) know that it was shot with a slow shutter speed which gives it its sense of action and speed, it still registers as an accurate (as much as it is possible) depiction of the morning of the invasion. 

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