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An extraordinary novel of love, war, and art, based on the turbulent real-life romance of legendary photojournalists Gerda Taro and Robert Capa Artists, Jews, nonconformists, exiles. Gerta Pohorylle meets André Friedmann in Paris in 1935 and is drawn to his fierce dedication to justice, journalism, and the art of photography. Assuming new names, Gerda Taro and Robert Capa travel together to Spain, Europe’s most harrowing war zone, to document the rapidly intensifying turmoil of the Spanish Civil War. In the midst of the peril and chaos of brutal conflict, a romance for the ages is born, marked by passion and recklessness . . . until tragedy intervenes. Already published to international acclaim, Waiting for Robert Capa is an exhilarating tale of art and love—and a moving tribute to all those who risk their lives to document the world’s violent transformations.
Packed with dramatic photos, posters, and maps, this compelling book captures the fascinating story of photojournalism in modern times.
In 1942, a dashing young man who liked nothing so much as a heated game of poker, a good bottle of scotch, and the company of a pretty girl hopped a merchant ship to England. He was Robert Capa, the brilliant and daring photojournalist, and Collier’s magazine had put him on assignment to photograph the war raging in Europe. In these pages, Capa recounts his terrifying journey through the darkest battles of World War II and shares his memories of the men and women of the Allied forces who befriended, amused, and captivated him along the way. His photographs are masterpieces — John G. Morris, Magnum Photos’ first executive editor, called Capa “the century’s greatest battlefield photographer” — and his writing is by turns riotously funny and deeply moving. From Sicily to London, Normandy to Algiers, Capa experienced some of the most trying conditions imaginable, yet his compassion and wit shine on every page of this book. Charming and profound, Slightly Out of Focus is a marvelous memoir told in words and pictures by an extraordinary man.—Print Ed.
This text looks at Robert Capa's colour photography, a little-known but important aspect of the great photographer's work, and includes many never-before-published images. Capa regularly used colour film from the 1940s until his death in 1954. Some of these photographs were published in magazines of the day, but the majority have never been printed, seen, or even studied. "Capa in Color" presents this work an integral part of his post-war career and fundamental in remaining relevant to magazines.
Susie Linfield addresses the issue of whether photographs depicting past scenes of violence & cruelty are voyeuristic, arguing that if we do not look & understand that we are seeing at people, rather than depersonalised acts of inhumanity, our hopes of curbing political violence today are probably limited.
Robert Capa: A Graphic Biography, written in the first person, follows [Capa's] personal and professional life and through his eyes, the social upheaval and earth-shattering wars of the 20th century.
Amid the rubble of a city blasted by a civil war that many fear will cross borders and engulf Europe, the Hotel Florida on Madrid's chic Gran Via has become a haven for foreign journalists and writers. It is here that six people meet and find their lives changed forever. Ernest Hemingway, his career stalled, his marriage sour, hopes that this war will give him fresh material and a new romance; Martha Gellhorn, an ambitious young journalist hungry for love and experience, thinks she will find both with Hemingway in Spain. Robert Capa and Gerda Taro, idealistic and ground-breaking young photographers based in Paris, want to capture history in the making and are inventing moder photojournalism in the process. And Arturo Barea, chief of the Republican government's foreign press office, and Ilsa Kulcsar, his Austrian deputy, are struggling to balance truth-telling with their loyalty to their sometimes-compromised cause - a struggle that places both of their lives at risk. Hotel Florida traces the tangled wartime destinies of these three couples - and a host of supporting characters - living as intensely as they had ever done, against the backdrop of a critical moment in history. It is a narrative of love and reinvention that is, finally, a story about truth, finding it, telling it - and living it, whatever the cost.
Between the French Indochina war of the fifties and the fall of Phnom Penn and Saigon in 1975, 134 photographers from different nations were killed. Horst Faas, two-times Pullitzer Prize winner and Chief Photographer for The Associated Press in Saigon at the height of the war, and Tim Page, another veteran who had been badly wounded, have gathered many thousands of photos from the Western agencies and from archives in Hanoi and Ho Chi Minh City. These have now been assembled to form both a monument to the dead and a record of the most terrifying war photography ever taken. Never again will the media have the kind of access to the war zone that was offered to the photographers in Vietnam. In many cases the photographers tried to get as close as possible, then paid the price.
1st August 1937. A parade of red flags marches through Paris. It is the funeral procession for Gerda Taro, the first female photographer to be killed on a battlefield. Robert Capa, who leads the procession, is devastated. They have been happy together: he taught her how to use the Leica before they left together to fight in the Spanish Civil War. Other figures from Gerda's past are in the crowd: Ruth Cerf, her friend from Leipzig, who shared the hardships of their first years in Paris after feeling from Germany; Willy Chardack, who resigned himself to the role of loyal companion after Gerda snubbed him for Georg Kuritzkes, a fighter in the International Brigades. For all of them, Gerda will remain a stronger and more vivid presence than her image of anti-fascist heroine. It is her who binds together a narrative spanning distant times and places, bringing back to life the snapshots of these young people and the challenges they faced in the 1930s, from economic depression to the rise of nazism, to the hostility towards refugees in France. But for those who loved her, those young years would remain a time when, as long as Gerda was alive, everything seemed possible.