- Gebundene Ausgabe: 400 Seiten
- Verlag: MacMillan (26. April 2002)
- Sprache: Englisch
- ISBN-10: 0333739574
- ISBN-13: 978-0333739570
- Größe und/oder Gewicht: 23,4 x 15,4 x 3,2 cm
- Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 1.686.480 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Amazon.co.uk
"It does seem to me that Capa has proved beyond all doubt that the camera need not be a cold mechanical device" John Steinbeck wrote of photojournalist Robert Capa in a quote that launches Blood and Champagne, a well-written, exhaustively researched biography. "Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart." That's quite a compliment coming from an author of Steinbeck's calibre, but then Capa won the respect and friendship of some of the brightest talents of his generation; other admirers and poker buddies included Ernest Hemingway and John Huston, and among his many loves was actress Ingrid Bergman. Capa won fame slogging through the blood and grime to capture vivid images of five different wars, from the Spanish Civil War (where he wasn't above staging some of his photographs), through the landings at Omaha Beach on D-Day (which he chronicled for Life magazine as the only journalist to wade ashore with the first wave of G.I.s), to the early days of the Vietnam conflict (where he was killed in action at the age of 41 while covering the French army, soon to be replaced with disastrous results by the Americans).
Another great writer, John Hersey, famously dubbed the swarthy chain-smoking photographer "the Man Who Invented Himself", and author Alex Kershaw contends that one of his greatest achievements was the legend that he created for himself. A California journalist who contributes to The Guardian and The Sunday Times Magazine, among others, Kershaw brings Capa and his times to life with bright, vivid writing and telling anecdotes, using a fascinating personal odyssey to put the man's professional accomplishments in to perspective. "Capa was the first photographer to make photojournalism appear glamorous and sexy", he writes. Of course, that distinction and all others take a back seat to the photos themselves, and this book's only shortcoming is that it does not include any examples of the great man's work. --Jim DeRogatis, Amazon.com
Amazon.com
"It does seem to me that Capa has proved beyond all doubt that the camera need not be a cold mechanical device," John Steinbeck wrote of photojournalist Robert Capa in a quote that launches this well-written, exhaustively researched biography. "Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart." That’s quite a compliment coming from an author like Steinbeck, but then Capa won the respect and friendship of some of the brightest talents of his generation; other admirers and poker buddies included Ernest Hemingway and John Huston, and among his many loves was actress Ingrid Bergman. Capa won fame slogging through the blood and grime to capture vivid images of five different wars, from the Spanish Civil War (where he wasn't above staging some of his photographs), through the landings at Omaha Beach on D-Day (which he chronicled for Life magazine as the only journalist to wade ashore with the first wave of G.I.s), to the early days of the Vietnam conflict (where he was killed in action at the age of 41 while covering the French army, soon to be replaced with disastrous results by the Americans). Born a Hungarian Jew named André Friedmann, another great writer, John Hersey, famously dubbed the swarthy chain-smoking photographer "the Man Who Invented Himself," and author Alex Kershaw contends that one of his greatest achievements was the legend that he created for himself. A California journalist who contributes to The Guardian and The Sunday Times Magazine, among others, Kershaw brings Capa and his times to life with bright, vivid writing and telling anecdotes, using a fascinating personal odyssey to put the man's professional accomplishments in perspective. "Capa was the first photographer to make photojournalism appear glamorous and sexy," he writes. Of course, that distinction and all others take a back seat to the photos themselves, and this book’s only shortcoming is that it does not include any examples of the great man’s work.--Jim DeRogatis
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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Format:Gebundene Ausgabe
Robert Capa ist wohl der bekanntste und legendärste Kriegsfotograf. Alex Kershaw hat seine Biografie genauso spannend und humorvoll geschrieben, wie der Mann war, um den es sich handelt. Spanischer Bürgerkrieg, der Zweite Weltkrieg in Afrika, Italien, Frankreich und Deutschland, Landung an der Normandie, China, Beginne des späteren Vietnamkrieges wurden von wenigen so packend und mitfühlend dargestellt. Kershaw beschreibt nicht nur die geschichtlichen Ereignisse anschaulich durch Erlebnisberichte, sondern schlüsselt auch den Charakter Robert Capas gut auf und füllt das Buch mit zahlreichen Anekdoten. Z.B. wurde die bekannte Agentur Magnum von ihm nach einer großen Flasche Champagner benannt. In Friedenszeiten verbrachte Capa Zeit mit Hemingway, Steinbeck, Picasso, Matisse, Vivien Leigh und hatte eine lange Affäre mit Ingrid Bergmann. Es lohnt sich die Geschichten hinter den Bildern zu lesen. Kershaws Biografie ist Capas Charakter angepasst, doch für nähere Informationen über seine Kindheit und über die Zeit im Exil in Paris sollte man auf die Biografie von Richard Whelan zurück greifen, die sehr ausführlich recherchiert wurde.
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superb - the best account yet
28. August 2003
Format:Gebundene Ausgabe
A great, cinematic read - a shame that the estate did not allow photographs, but they never will. Yet this book is so vivid and esxciting that you don't notice the images not being there - you see them in your head. Really tremendous research, so much more objective than the authorized hagiographer Whelan's account, and this will one day be a movie - it just feels so right. A great, great tale told very well by Kershaw. Best bio on a photographer ever written.
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AS GOOD AS IT GETS
15. Januar 2004
Format:Gebundene Ausgabe
This book is a story, told to be thrilling and informative and will stand the test of time as the best book written about the trade of war photography. It should be a film because the action and character development are well plotted. And if you want to know, close up, about the great moments of the last century, then here is a ring-side seat on history in the making too. Inspiring stuff. If only there were more biographies written like this.
3 von 7 Kunden fanden die folgende Rezension hilfreich
It's okay
14. September 2007
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
Capa is one of the romantic characters of journalism, a free spirit with an insatiable appetite for risk-taking, alcohol, cigarettes and women. That he died at age 40 in the line of duty as a war photographer has only embellished his image. These are the facts we have known about Capa for decades, reported nicely in Whelan's biography in the 1980's. This book doesn't expand on this information very much.
If you leave out the sections about the famous women he bedded, this would be a much shorter book. It's tawdry in that regard but that does keep the book rolling along. Overall, it's not a bad biography of Capa. It does seem to me to borrow heavily from Whelan's biography and from Capa's own book "Slightly Out Of Focus". If you're familiar with those books, there are no new revelations here.
I do take issue with one small point. Capa is constantly referred to as having Leicas dangling around his neck, using Leicas on assignments and holding Leicas. While I do not doubt Capa used Leicas--along with other brands of cameras--during his career, Kershaw's repeated references are tedious. This is especially true when one considers that Capa is closely identified with the now defunct 35mm Zeiss Contax, he used Contax cameras during the D-Day invasion and he was using Contax cameras at the time of his death in Indochina in 1954. In fact, the two photographs in Kershaw's book that show Capa with a camera "dangling around his neck" actually show him with Contax cameras, not Leicas.
That small point is indeed small, however, it begs the question of how correct the other information might be. Of course biographies are often based on hearsay and ancedotal information, the veracity of which is open to interpretation. Maybe Kershaw was just invoking creative license and using Leica as metaphor. It's not a point any non-photographer reader would even notice. Still, I find it a little troubling.
Overall, this is a decent but derivative sketch of Capa.
If you leave out the sections about the famous women he bedded, this would be a much shorter book. It's tawdry in that regard but that does keep the book rolling along. Overall, it's not a bad biography of Capa. It does seem to me to borrow heavily from Whelan's biography and from Capa's own book "Slightly Out Of Focus". If you're familiar with those books, there are no new revelations here.
I do take issue with one small point. Capa is constantly referred to as having Leicas dangling around his neck, using Leicas on assignments and holding Leicas. While I do not doubt Capa used Leicas--along with other brands of cameras--during his career, Kershaw's repeated references are tedious. This is especially true when one considers that Capa is closely identified with the now defunct 35mm Zeiss Contax, he used Contax cameras during the D-Day invasion and he was using Contax cameras at the time of his death in Indochina in 1954. In fact, the two photographs in Kershaw's book that show Capa with a camera "dangling around his neck" actually show him with Contax cameras, not Leicas.
That small point is indeed small, however, it begs the question of how correct the other information might be. Of course biographies are often based on hearsay and ancedotal information, the veracity of which is open to interpretation. Maybe Kershaw was just invoking creative license and using Leica as metaphor. It's not a point any non-photographer reader would even notice. Still, I find it a little troubling.
Overall, this is a decent but derivative sketch of Capa.
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