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The Hungarian Photographer Who Stormed Omaha Beach

06 Friday Jun 2014

Posted by jrbenjamin in Biography, History, Photography, War

≈ Comments Off on The Hungarian Photographer Who Stormed Omaha Beach

Tags

Adolf Hitler, battle, combat, Combat Photography, D-Day, Dwight Eisenhower, English Channel, film, France, Invasion, Life Magazine, Normandy, Omaha Beach, Photography, Propaganda, Robert Capa, Slightly Out of Focus, Soldiers, Spanish Civil War, Steven Spielberg, War, War Correspondent, World War Two

D-Day Invasion

“I would have to make up my mind and choose a barge to ride in… On the one hand, the objectives of Company B looked interesting, and to go along with them seemed a pretty safe bet. Then again, I used to know Company E very well and the story I had got with them in Sicily was one of my best in the war…

If at this point my son should interrupt me, and ask, ‘What is the difference between the war correspondent and any other man in uniform?’ I would say that the war correspondent gets more drinks, more girls, better pay and greater freedom than the soldier… The war correspondent has his stake — his life — in his own hands and he can put it on this horse or that horse, or he can put it back in his pocket at the very last minute.

I am a gambler. I decided to go with Company E in the first wave.

Once I decided to go in with the first assault troops I began to convince myself that the invasion would be a pushover and that all this talk about an ‘impregnable west wall’ was just German propaganda. I went up on deck and took a good look at the disappearing English coast. The pale green glow of the vanishing island hit my soft spot and I joined the legion of the last-letter-writers. My brother could have my ski boots and my mother could invite someone from England to stay with her. The idea was disgusting, and I never mailed the letter. I folded it up, and stuck it in my breast pocket…

They fixed a gas mask, and inflatable lifebelt, a shovel, and some other gadgets around me, and I placed my very expensive Burberry raincoat over my arm. I was the most elegant invader of them all… The coast of Normandy was still miles away when the first unmistakable popping reached our listening ears. We ducked down in the puky water at the bottom of the barge and ceased to watch the approaching coastline… It was now light enough to start taking pictures and I brought my first Contax camera out of its waterproof oilskin. The flat bottom of our barge hit the earth of France. The boatswain lowered the steel-covered barge front, and there, between the grotesque designs of steel obstacles sticking out of the water, was a thin line of land covered with smoke — our Europe, the “Easy Red” beach.

My beautiful France looked sordid and uninviting, and a German machine gun, spitting bullets around the barge, fully spoiled my return. The men from my barge waded in the water. Waist deep, with rifles ready to shoot, with the invasion obstacles and the smoking beach in the background — this was good enough for the photographer. I paused for a moment on the gangplank to take my first real picture of the invasion. The boatswain, who was in an understandable hurry to get the hell out of there, mistook my picture-taking attitude for explicable hesitation, and helped me make up my mind with a well-aimed kick in the rear. The water was cold, and the beach still more than a hundred yards away. The bullets tore holes in the water around me, and I made for the nearest steel obstacle.

A soldier got there at the same time, and for a few minutes we shared its cover. He took off the waterproofing of his rifle and began to shoot without much aiming at the smoke-hidden beach. The sound of his rifle gave him enough courage to to move forward and he left the obstacle to me. It was a foot larger now and I felt safe enough to take pictures of the other guys hiding just as I was. It was still very early and very gray for good pictures, but the gray water and the gray sky made the little men, dodging under the surrealistic designs of Hitler’s anti-invasion brain trust, very effective.

I finished my pictures, and the sea was cold in my trousers. Reluctantly, I tried to move away from my steel pole, but the bullets chased me back every time. Fifty yards ahead of me, one of our half-burnt amphibious tanks stuck out of the water and offered me my next cover. I sized up the moment. There was little future for the elegant raincoat heavy on my arm. I dropped it and made for the tank. Between floating bodies I reached it, paused for a few more pictures, and gathered my guts for the last jump to the beach.

Now the Germans played on all their instruments, and I could not find any hole between the shells and bullets that blocked the last twenty-five yards to the beach, I just stayed behind my tank, repeating a little sentence from my Spanish Civil War days, ‘Es una cosa muy seria. Es una cosa muy seria.’ This is a very serious business.

The tide was coming in and now the water reached the farewell letter to my family in my breast pocket. Behind the human cover of the last two guys, I reached the beach. I threw myself flat and my lips touched the earth of France. I had no desire to kiss it.”

Robert Capa

__________

A section from Robert Capa’s memoir of World War Two, Slightly Out of Focus.

70 years ago today, Capa trudged up the French coast to capture the first and only photographs of the opening assault on Omaha Beach. He used a pair of Contax II cameras mounted with 50mm lenses to snap a total of 106 pictures in the first two hours of the invasion. But only eleven frames would survive. No, they did not get lost in the skirmish, shot through by a German gunner, or sink to the bottom of the English Channel. They melted at the Life Magazine offices in London, after a fifteen-year-old lab assistant set the dryer too high, bleaching the emulsion in the negatives of three and a half of Capa’s four film rolls.

The surviving photos, which would soon come to be known as “The Magnificent Eleven,” are the sole visual record of the invasion and some of the most striking combat photography ever captured. They were printed in the July 19th Life Magazine article “The Beachheads of Normandy,” with a fitting caption, “slightly out of focus,” which Capa later came to think of as a metaphor for his memory of wartime — so it became the title of his book.

Robert Capa and Gerda Taro Robert Capa - D-Day Normandy Robert Capa - D-Day Normandy Robert Capa - Soldier - Spanish Civil WarRobert Capa

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Ambition

25 Wednesday Sep 2013

Posted by jrbenjamin in Photography, Poetry

≈ 3 Comments

Tags

Ambition, Hawai'i, Mauna Kea Observatories, Oxford, Photography, Poem, poetry, Willy Oppenheim, Writing

A Car at the End of the World

My ambition is truly limited to a few clods of earth,
some sprouting wheat, an olive grove. 

-Vincent Van Gogh

For weeks there is no poetry.
Months. There are the same songs
surrounding rhythms we call work,
the sense upon waking of something to begin,
the sense that sleep is a calculated concession to weakness.
And then, driving east in the winter morning,
you find sunlight on wet marshes and machinery,
a gathering of birds.

This is not about beauty.
At night before meals we take silence,
our hands encircling what cannot be said.
Not beauty but vastness.
The black winter creek through pillows of snow.
The wild fox before dawn loping down wet roads,
passing under streetlights, then gone.

__________

Winner of the Oxford University Review’s 2013 Poetry Competition: Ambition by American Rhodes Scholar Willy Oppenheim.

I took the photograph while with my dad watching the sun rise over the summit of the Mauna Kea Observatories on the Big Island of Hawai’i. When the picture was exhibited at the Houston Museum of Fine Arts a few years ago, I called it A Car at the End of the World, a title I still like.

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“Separation” by W. S. Merwin

12 Wednesday Jun 2013

Posted by jrbenjamin in Photography, Poetry

≈ 2 Comments

Tags

loneliness, Poem, poetry, Separation, Stephen Shore, W. S. Merwin, William Eggleston

Grindelwald, Switzerland

Your absence has gone through me
Like thread through a needle.
Everything I do is stitched with its color.

__________

“Separation” by W. S. Merwin. Read it in his excellent Migration: New & Selected Poems.

“Poetry is like making a joke. If you get one word wrong at the end of a joke, you’ve lost the whole thing.” – W. S. Merwin

I took the photograph on a rain-soaked afternoon in a tiny hotel in Grindelwald, Switzerland. A cool summer shower was pelting the windowpane as the sky grayed and bruised with purple clouds.

It’s a picture I remember setting up and shooting (a process that involved clicking the TV to the weirdest channel available); yet I had forgotten about the image itself. Like a lot of photographs, it came from utter boredom — the process of studying a mundane space and trying to make something interesting out of it.

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New Bibles for a New Babel

23 Tuesday Oct 2012

Posted by jrbenjamin in History, Photography, Religion

≈ 1 Comment

Tags

Christianity, Christopher Hitchens, Ecclesiastes, George Orwell, Job, King James Bible, Philipians, Saint Paul, Shakespeare, T.S. Eliot, the Bible

Charles Bridge, Prague

“Four hundred years ago, just as William Shakespeare was reaching the height of his powers and showing the new scope and variety of the English language, and just as ‘England’ itself was becoming more of a nation-state and less an offshore dependency of Europe, an extraordinary committee of clergymen and scholars completed the task of rendering the Old and New Testaments into English, and claimed that the result was the ‘Authorized’ or ‘King James’ version. This was a fairly conservative attempt to stabilize the Crown and the kingdom, heal the breach between competing English and Scottish Christian sects, and bind the majesty of the King to his devout people. ‘The powers that be,’ it had Saint Paul saying in his Epistle to the Romans, ‘are ordained of God.’ This and other phrasings, not all of them so authoritarian and conformist, continue to echo in our language: ‘When I was a child, I spake as a child’; ‘Eat, drink, and be merry’; ‘From strength to strength’; ‘Grind the faces of the poor’; ‘salt of the earth’; ‘Our Father, which art in heaven.’ It’s near impossible to imagine our idiom and vernacular, let alone our liturgy, without them. Not many committees in history have come up with such crystalline prose…

A culture that does not possess this common store of image and allegory will be a perilously thin one. To seek restlessly to update it [The Bible] or make it “relevant” is to miss the point, like yearning for a hip-hop Shakespeare. ‘Man is born unto trouble as the sparks fly upward,’ says the Book of Job. Want to try to improve that for Twitter? And so bleak and spare and fatalistic—almost non-religious—are the closing verses of Ecclesiastes that they were read at the Church of England funeral service the unbeliever George Orwell had requested in his will: ‘Also when they shall be afraid of that which is high, and fears shall be in the way, and the almond tree shall flourish, and the grasshopper shall be a burden, and desire shall fail: because man goeth to his long home. … Or ever the silver cord be loosed, or the golden bowl be broken, or the pitcher be broken at the fountain, or the wheel broken at the cistern. / Then shall the dust return to the earth as it was.’

Charles Bridge, PragueAt my father’s funeral I chose to read a similarly non-sermonizing part of the New Testament, this time an injunction from Saint Paul’s Epistle to the Philippians: ‘Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.’

As much philosophical as spiritual, with its conditional and speculative ‘ifs’ and its closing advice—always italicized in my mind since first I heard it—to think and reflect on such matters: this passage was the labor of men who had wrought deeply with ideas and concepts. I now pluck down from my shelf the American Bible Society’s ‘Contemporary English Version,’ which I picked up at an evangelical ‘Promise Keepers’ rally on the Mall in Washington in 1997. Claiming to be faithful to the spirit of the King James translation, it keeps its promise in this way: ‘Finally, my friends, keep your minds on whatever is true, pure, right, holy, friendly and proper. Don’t ever stop thinking about what is truly worthwhile and worthy of praise.’

Pancake-flat: suited perhaps to a basement meeting of A.A., these words could not hope to penetrate the torpid, resistant fog in the mind of a 16-year-old boy, as their original had done for me. There’s perhaps a slightly ingratiating obeisance to gender neutrality in the substitution of ‘my friends’ for ‘brethren,’ but to suggest that Saint Paul, of all people, was gender-neutral is to re-write the history as well as to rinse out the prose. When the Church of England effectively dropped King James, in the 1960s, and issued what would become the ‘New English Bible,’ T. S. Eliot commented that the result was astonishing ‘in its combination of the vulgar, the trivial and the pedantic.’ (Not surprising from the author of For Lancelot Andrewes.) This has been true of every other stilted, patronizing, literal-minded attempt to shift the translation’s emphasis from plangent poetry to utilitarian prose…”

Charles Bridge, Prague

__________

From Christopher Hitchens’s essay about the beauty of the King James Bible and the triviality of so many modern Biblical translations. When the King Saved God: a recommended read for anyone with an interest in Christianity, literature, history, words, language, or the church.

The photographs were taken on the Charles Bridge in Prague.

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