Robert Capa, asıl adıyla Andre Friedmann, 20. yüzyılın en ünlü fotoğrafçıları ve fotoğrafçı-gazetecilerinden biri. Aklı ve gönlü Cumhuriyet'in kazanmasından yana olarak katıldığı İspanya İç Savaşı'nda çektiği "Vurulup Düşen Asker" fotoğrafıyla bütün dünyada ün kazanan, Almanya'dan Kuzey Afrika'ya, ABD'den Çin'e dünyanın neresinde çatışmalar, kitle eylemleri ve savaşlar varsa serüvenci ruhuyla ve barışçı tutumuyla kendini oraya atan, "Teknik olarak kötü ama güçlü bir görüntüyü, tekniği iyi ama zayıf bir görüntüye her zaman tercih ederim," düsturuyla mesleğini yürüten ve hem meslektaşlarının haklarını koruması hem de hevesli gençlerin bu meslekte ilerlemelerine yardımcı olmak amacıyla dört arkadaşıyla Magnum'u kuran fotoğrafçı.
Richard Whelan'ın kaleme aldığı bu kitap, onunla tanışıp âşık olunca 'bizi ancak kazma-kürek ayırabilir' dediği ve İspanya İç Savaşı'nda ölünce ikisini gerçekten de kazma küreğin ayırdığı Gerda'yla büyük aşkı, Hemingway'den Steinbeck'e, Gary Cooper'dan Picasso'ya ve Ingrid Bergman'a kadar kolayca kurduğu arkadaşlıkları ve ömrü boyunca kendini göçmen sayıp eline geçen her kuruşu çevresindekilerle harcamaya ayırtan gönlübol tutumuyla Robert Capa'nın en kapsamlı ve doğru biyografisi olarak kabul edilmektedir.
For the first 77 pages of this book I was convinced Endre Ernő Friedmann was a sloth, an idiot and a bumbling fool who took advantage of anyone he came into contact with and left little more than destruction and ambivalence in his wake.
For the next 50 pages I was convinced he had hoodwinked the journalistic world using any sort of duplicitous artifice he could manage to further his agenda. I am almost certain his Falling Soldier image was staged and entirely fake. There is little doubt in my mind of that. Just the idea that he created a fictitious person, Robert Capa, which he later became, to further his agenda lends at least some credence to this being true.
But it was at this point that I began to like Robert Capa. Just as it seemed he did in real life to just about everyone in his life he seemed to do to me just hearing about him. I was seduced by his charm and his genuine sense of concern for enjoying life and doing whatever it took to stand up for what he may have felt was receiving less exposure than it probably deserved.
By the end of this book I was heartbroken by Capa’s death. He was courageous and unfettered by many of the things that I believe have left the modern world in a shambles.
This book is an amazing read just as Whelan’s book about Alfred Stieglitz was. Well written and extremely well researched, it is at once thoughtful and heartfelt and a genuine portrait of the man in his darkest dark and in his brightest light.
I recommend it to anyone interested in photography or just intriqued by people in general. Robert Capa is now on my short list of favorite photographers. If someone said, Who would you have lunch with if given the opportunity, living or dead? I would say, Robert Capa.
Interesting biography of an interesting man. Fun-loving, internationalist photographer Capa had a great influence on all who met him. He was lucky to have lived as long as he did, with all the risks he took.
Richard Whelan’s 1985, ROBERT CAPA: A BIOGRAPHY is the definitive bio of the deservedly renowned combat photographer. So there’s not much I can add other than to note that Whelan interviewed dozens and dozens of Capa’s friends and associates. With the march of time no one will ever again have such an opportunity to gather first-hand details. But there is one comment that I can make that is worth your consideration. If you are interested in Robert Capa, I suggest that you first read his rather fanciful “autobiography” SLIGHTLY OUT OF FOCUS before reading Whelan’s account. Capa’s book lets you see how he saw himself or wanted to be seen. Whelan will set you straight on the facts; but Capa’s words create an alternate reality that actually may be more true in spirit.