--- title: 100 Photographs: D-Day | TIME description: When Robert Capa caught the face of an American soldier crawling onto Normandy beach, he captured the definitive image of D-Day and the turning of the tide of World War II canonical: https://time.com/video/AT3n8pKV/ og:title: 100 Photographs: D-Day og:description: When Robert Capa caught the face of an American soldier crawling onto Normandy beach, he captured the definitive image of D-Day and the turning of the tide of World War II og:url: https://time.com/video/AT3n8pKV/ og:image: https://cdn.jwplayer.com/v2/media/AT3n8pKV/poster.jpg?width=720 og:type: video.other twitter:card: summary_large_image twitter:title: 100 Photographs: D-Day twitter:description: When Robert Capa caught the face of an American soldier crawling onto Normandy beach, he captured the definitive image of D-Day and the turning of the tide of World War II twitter:image: https://cdn.jwplayer.com/v2/media/AT3n8pKV/poster.jpg?width=720 --- # 100 Photographs: D-Day > Sponsored content. 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They are at time.com/newsletters and are separate from a paid subscription. ## Video: 100 Photographs: D-Day [Watch (HLS stream): 100 Photographs: D-Day](https://cdn.jwplayer.com/manifests/AT3n8pKV.m3u8) (4:11)  _Published 2015-10-06. When Robert Capa caught the face of an American soldier crawling onto Normandy beach, he captured the definitive image of D-Day and the turning of the tide of World War II_ --- Jul 27, 2023 6:52 PM UTC --- ## More From This Series [All Videos](https://time.com/video/) ['It Went Perfect.' A 97-Year-Old D-Day Veteran Just Parachuted Into Normandy — Again](/video/73f5RxA0/) ### 'It Went Perfect.' A 97-Year-Old D-Day Veteran Just Parachuted Into Normandy — Again [100 Photographs: The Falling Man](/video/bJiEuVE2/) ### 100 Photographs: The Falling Man [100 Photographs: Dali Atomicus](/video/c7yPeZ12/) ### 100 Photographs: Dali Atomicus --- ## Transcript [ MUSIC ] I'm John Morris. I happen to be Robert Capa's editor. On D- Day, I was then the photo editor of Life in London. Capa was a contract photographer for Life. He had covered several wars before he was assigned to cover the big one which was D Day. [ SOUND ] [ BLANK_AUDIO ] Just simply getting the film back was a major undertaking. It meant physically getting undeveloped film back across the channel to London, where everything had to be processed and then censored. I had been waiting all day Tuesday and virtually all of Wednesday for the film to come back from Normandy, the tension was terrible. Finally, about six o'clock, a messenger came to the office on Dean Street with a packet from CAPA, and then it was a note saying " John, the action is all in the four rolls of 35 millimeter ". I ordered the dark room to give me contact prints as fast as possible because we were under terrible deadline pressure. A few minutes later, a dark room lad came running into my office saying John the films are ruined and there was nothing on the first three rolls. But on the fourth row, there were images and I ordered them all to be printed. It's interesting and I didn't think of it at the time but there's one picture that stands out and that's the picture that shows clearly the head of an American soldier as he approaches the shore. It never occurred to me until later that in order to take that picture Coppa had to get ahead of that soldier and turn his back on the action which is quite remarkable. And also is an indication of Coppa's courage. I think that photo stands out because it humanizes the invasion. There's a single man walking ashore. My deadline for life was nine o'clock Thursday morning when a courier would leave Grosvenor Square with film bound Prestwick in Scotland and from Prestwick to Newfoundland, and from Newfoundland to Washington, and from Washington to New York. That was the circuit that I had to cope with. We just sent the film. We didn't have to tell them that we had lost most of it. I just take the wrap for having been in charge of that film losing operation. Now I simply take credit for saving the pictures that survived. But we were so relieved when, late Saturday night or Sunday morning, we got a cable from Dan Longwell, the managing editor of Life, saying congratulations, you did a great job and so on. Life was the only eye witness that really was respected because there was no television. It was life that gave people the sense of how things really looked. The Omaha Beach story as whole is perhaps the most memorable in my entire lifetime. And I've been privileged to work through many important stories of the 20th century. 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