The Legacy of Robert Capa’s D-Day Photography Reimagined

On June 6, 1944, Robert Capa, one of the most renowned war photographers in history, immortalized the tumult and chaos of the D-Day landings with his Contax II camera. As waves of soldiers courageously stormed Omaha Beach amidst intense enemy fire, Capa documented what would become the largest seaborne assault in history—and one of the deadliest. The harsh combination of fierce winds, unpredictable tidal currents, and a formidable German defense culminated in the tragic loss of approximately 2,400 American lives by the end of that fateful day.

After Capa sent his crucial film back to London for development, a mishap in the darkroom resulted in the overexposure of most shots, leaving only 11 frames intact—known as The Magnificent Eleven. These surviving images emerged as hauntingly powerful visual records of World War II, while the remainder were lost to the annals of history.

In an innovative twist, British-born, US-based conceptual artist Phillip Toledano has embarked on a project that reimagines what could have existed on Capa’s missing rolls, utilizing artificial intelligence for image generation. “The primary focus isn’t solely on Capa or the D-Day event itself—it’s about how convincingly we can reconstruct the past, and what that means for our present,” explains Toledano.

His photo series, titled We Are At War, transcends the boundaries of a traditional photo book. It presents a 1944-style newspaper filled with AI-generated articles and advertisements, all elegantly packaged in a period-authentic box alongside an imagined contact sheet of Capa’s lost roll. Euronews Culture had the opportunity to sit down with Toledano to delve into the creation of this groundbreaking project and gain insight into the ever-evolving landscape of AI technology.

Insights from Phillip Toledano

Euronews Culture: Could you summarize the essence of your project in your own words?

Phillip Toledano: Absolutely. In 1944, the famed photographer Robert Capa stepped ashore at Omaha Beach, Normandy, capturing the harrowing reality of the moment. According to the narrative, he shot four rolls of film, which were sent back to England. Unfortunately, a lab assistant made a grave error during development, resulting in only 11 surviving images of his D-Day shots. This created an “empty pocket” in history that I believed I could fill with AI. Essentially, I’ve reimagined or recreated a lost roll of Capa’s film from that day. However, the main idea extends beyond Capa or D-Day—it challenges how convincingly we can recreate the past and what implications that holds for our present.

With AI, the dichotomy is that everything is true and yet nothing is true. Our relationship with images has undergone a fundamental transformation, placing us at a critical juncture where we must confront the question, “What’s real anymore?”

So, what inspired you to embark on this project?

I was invited to participate in a residency in Normandy for a French photo festival called Planche Contact during the 70th anniversary of D-Day. Naturally, when considering D-Day photography, Capa’s images immediately come to mind. I’ve been working on this concept for about a year and a half, particularly intrigued by the idea that with AI, “everything is true and nothing is true.” Our relationship with imagery has fundamentally shifted, and we find ourselves at a pivotal moment where we need to ponder what constitutes reality.

Your project is presented in a 1940s newspaper format. Can you elaborate on that choice?

Yes, I aimed to push the concept of “invented history” as far as it could go. Instead of creating a conventional photo book, I opted to produce a “lost artifact.” One of Capa’s notable possessions was the “Mexican suitcase,” found posthumously and containing many of his negatives. Hence, I thought, why not extend this fictional narrative by creating our own lost artifact? Rather than a book, it’s a box that includes a 1944 newspaper and a contact sheet of the “lost” roll. This approach is another way to further the narrative of invented history.

Did you consult other historical references from D-Day to ensure accuracy?

AI has its imperfections, and for true history enthusiasts, discrepancies in uniforms, weapons, planes, and other details in these images may be readily apparent. However, for most viewers, I hope they’ll walk through the exhibition, find the images moving and impactful, and only later realize they were generated by AI. This experience reflects our daily interactions with imagery on social media, where we often see and share things only to discover later that they aren’t authentic.

Do you view this moment as a turning point in how we perceive images and video, especially with the rise of AI?

Absolutely. For over 150 years, photography has been regarded as a form of “truth.” Now, everything has changed drastically. I believe we will never again be entirely certain if what we’re observing is real.

What challenges did you encounter while creating these AI-generated images?

Working with AI can be akin to collaborating with a highly skilled yet inebriated individual—it makes numerous mistakes. Therefore, I must meticulously check everything to ensure that the faces appear accurate, the composition feels genuine, and so on. It’s almost like whittling a stick; I continuously refine the image until it resonates as authentic.

Do you further edit the AI images in Photoshop, making adjustments or altering colors?

Ironically, for a project rooted in AI, I adopt a somewhat purist approach. I almost never modify the final image in Photoshop; what you see is typically directly generated by AI.

How do you see the future of AI in photography?

I believe we’re merely at the beginning of the curve, and the technology will only improve from here. In the realm of photography, we’re currently at the “daguerreotype” stage of AI. It’s intriguing to consider how younger generations are rediscovering old technologies like film and vinyl. Perhaps in four or five years, people will yearn for the early iterations of AI that made quirky mistakes, as those errors are part of AI’s “voice.” As technology advances, that distinctive “voice” will fade, and AI-generated images will seamlessly resemble traditional photography.

Should AI prompting be integrated into educational curricula?

That’s an intriguing question. I view AI as another tool, akin to Photoshop or a paintbrush. So for those interested in the visual arts, I believe it should be included. Some critics argue that AI merely involves typing words into a screen, but writing is fundamentally similar. For me, AI creation aligns more with writing or filmmaking than with photography, even if the output resembles photography. The critical aspect is possessing a strong concept; AI can make poor ideas appear appealing, so a solid foundation is essential.

‘We Are At War’ was published last month by L’Artiere and is currently displayed at the Planches Contact Photography Festival in Deauville, France.