In the short time we have today I can only summarize what we’ve found:

• Capa sailed across the English Channel on the U.S.S. Samuel Chase.

• According to the official history of the U.S. Coast Guard, fifteen waves of LCVPs (commonly called Higgins boats) carrying troops left the U.S.S. Samuel Chase for Omaha Beach that morning. Capa almost certainly rode in with Col. Taylor and his staff, the command group of Company E of the 16th Infantry Regiment, U.S. 1st Division, to which Capa had been assigned. They constituted part of the thirteenth wave.

• That wave arrived at the Easy Red sector of Omaha Beach at 8:15, a half hour after the last of the 16th Infantry Regiment’s nine rifle companies. We can see from Capa’s images that numerous waves of troops preceded them.

• Using distinctive landmarks visible in Capa’s photos, Charles Herrick has pinpointed exactly where Capa landed on Easy Red: the beach at Colleville-sur-Mer. Gap Assault Team 10 had charge of the obstacles in that sector. An existing exit off this sector made it possible to reach the top of the bluffs with relative ease. Col. Taylor would become famous for announcing to the hesitant troops he found there, “Two kinds of people are staying on this beach, the dead and those who are going to die — now let’s get the hell out of here,” and urging them up the Colleville-sur-Mer draw to the bluffs.

Robert Capa, CS frame 4, neg. 32, detail, annotated

• Fortuitously, that stretch of Easy Red represented a seam in the German defenses, a weak point at the far end of the effective range of two widely separated German blockhouses. Both cannon fire and small-arms fire there proved relatively light — one reason for the success of Gap Assault Team 10 in clearing obstacles in that area. This explains why, contrary to Life’s captions and Capa’s later narrative, his images show no carnage, no floating bodies and body parts, no discarded equipment, and no bullet or shell splashes. This also explains why the Allies broke through early at that very point.

• Capa did not run out of film, nor did his camera jam, nor did seawater damage either his cameras or his film. In his memoir, Capa first implies that he exposed at most two full rolls of 35mm film — one roll in each of his two Contax II rangefinder cameras, 72 frames in all — at Omaha Beach. By the end of that chapter, this has somehow grown to “one hundred and six pictures in all, [of which] only eight were salvaged.” John Morris claims he received 4 rolls of Omaha Beach negatives from Capa. We find no reason to believe that Capa made more than the ten 35mm images of which we have physical evidence.

• Capa made the first five of those images while standing for almost two minutes on the ramp of the landing craft that brought him there. In them we see Capa’s traveling companions carrying not small-arms assault weapons but bulky oilskin-wrapped bundles, most likely radios and other supplies for the command post they meant to establish.

• Capa made his sixth exposure from behind a mined iron “hedgehog,” one of many such obstacles protecting what Nazi Gen. Erwin Rommel called the “Atlantic Wall.” He made his last four exposures — including “The Face in the Surf” — from behind Armored Assault Vehicle 10, which was sitting in the surf shelling the gun emplacements on the bluffs.

• Capa described Armored Assault Vehicle 10, which appears on the left-hand side of several of his images, as “one of our half-burnt amphibious tanks.” In fact, it was a modified American tank, a “wading Sherman,” not amphibious (merely waterproofed to the top of its treads) and not burnt out; later images made by others of that stretch of Easy Red show this tank undamaged, closer to the dry beach, and apparently in action. Taken in conjunction with the known presence at that point of Gap Assault Team 10, the large numeral 10 on this vehicle’s rear vent suggests that it was a so-called “tank dozer,” one of which landed with each demolition team that morning. The U.S. Army had modified these tanks by adding detachable bulldozer “blades,” so that they could clear the debris after the engineers blew up the obstacles.

• Not incidentally, both the time and place of Capa’s arrival on Easy Red contradict the current identification of Huston “Hu” Riley as “The Face in the Surf” in Capa’s penultimate exposure on Easy Red, as well as the earlier identification of “The Face in the Surf” as Pfc. Edward J. Regan. Both these soldiers arrived at different times than Capa, and on different sections of the beach. Thus the identity of “The Face in the Surf” remains unknown.

• After no more than 30 minutes on the beach, and perhaps as little as 15 minutes there, Capa ran to a landing craft, LCI(L)-94, where he took shelter before its departure around 0900.

• Capa claimed that he reached the dry beach and then experienced a panic attack, causing him to escape from the combat zone. We must consider the possibility that he suffered from what they then called “shell shock” and we now call post-traumatic stress disorder (PTSD). But we must also consider the possibility that, even before setting forth that morning, Capa made a calculated decision to leave the battlefield at the first opportunity, in order to get his films to London in time to make the deadline for LIFE’s next issue; if he missed that deadline, any images of the landing would become old news and his effort and risks in making them would have been for naught.

• No fewer than four witnesses place Capa on this vessel, LCI(L)-94. The first three were crew members Charles Jarreau, Clifford W. Lewis, and Victor Haboush. According to Capa, once he reached LCI(L)-94 he put away his Contax II, working thenceforth only with his Rolleiflex. One of the 2–1/4" images he made while aboard this vessel, published in the D-Day feature story in LIFE, shows Haboush assisting a medic treating a casualty.

Robert Capa, “Untitled (Medics at Omaha Beach, June 6, 1944).” Annotated screenshot from magnumphotos.com. Victor Haboush indicated by red arrow.

• The fourth witness to Capa’s presence on LCI(L)-94 was U.S. Coast Guard Chief Photographer’s Mate David T. Ruley. Ruley, a Coast Guard cinematographer assigned to film the invasion from the vantage point of this vessel, coincidentally documented its arrival at the very same spot at which Capa landed, recording the same scene from a perspective slightly different from Capa’s at approximately the same time Capa made his ten exposures.

Robert Capa, “The Face in the Surf” (l); David Ruley, frame from D-Day film (r)

• Ruley’s color footage appears frequently in D-Day documentaries. Charles Herrick and I verified that these film clips described conditions at that same sector of Easy Red while Capa was there. Ruley’s name on his slateboard at the start of several clips enabled us to learn a bit more about him and his assignment.

Robert Capa, center rear, aboard LCVP from USS Samuel Chase, with camera during transfer of casualty, D-Day, frame from film by David T. Ruley

• Most importantly, this resulted in the discovery of brief glimpses of Capa himself, holding Ruley’s slateboard in one scene and photographing the offloading of a casualty from LCI(L)-94 to another vessel in the second clip. These are the only known film or still images of Capa on D-Day, the only film images of him in any combat situation, and among the few known color film clips of him.

Robert Capa holding cinematographer’s slate aboard LCI(L)-94, D-Day, frame from film by David T. Ruley

Cinematographer David T. Ruley, illustrations for first-person account of D-Day experiences, Movie Makers magazine, 6/1/45

• By noon the battle there was largely over, and Capa had missed most of it.

• He made the return trip to England aboard the U.S.S. Samuel Chase.

• Arriving back in Weymouth on the morning of June 7, Capa had to wait for the offloading of wounded from the Chase before he got ashore sometime around 1 p.m. He sent all his film via courier to picture editor John Morris at LIFE’s London office, instead of carrying it himself to ensure its safe delivery and thus enable Morris to face with confidence the imminent, absolute deadline of 9 a.m. on June 8.

• As a result, Capa’s films did not reach the London office till 9 p.m. that night, putting Morris and the darkroom staff in crisis mode.

• Capa’s shipment included substantial pre-invasion reportage of the troops boarding and crossing the English Channel, his skimpy coverage of the battle on Omaha Beach, and several images of the beach seen from a distance, made while departing on LCI(L)-94, as well as photos of medics tending to the wounded on the return trip aboard the Chase.

• In addition to several rolls of 120 film, and a few 4x5" negatives made on shipboard with a borrowed Speed Graphic, Capa sent Morris at least five rolls of 35mm film, and possibly a sixth.

• These include two rolls made while boarding and on deck in the daytime, two more of a below-decks briefing, a (missing) roll of images made on deck at twilight during the crossing, and the ten Omaha Beach exposures, plus four sheets of sketchy handwritten caption notes.

• All of these films — including all of Capa’s Omaha Beach negatives — got processed normally, without incident. The surviving negatives, housed in the Capa Archive at ICP, show no sign of heat damage. Thus no darkroom disaster occurred, no D-Day images got lost … and none got “saved” or “salvaged.”

• In his memoir Capa wrote that by the time he got back to Omaha Beach on June 8 and joined his press corps colleagues, “I had been reported dead by a sergeant who had seen my body floating on the water with my cameras around my neck. I had been missing for forty-eight hours, my death had become official, and my obituaries had just been released by the censor.” No correspondent has ever corroborated that story. No such obituary ever saw print (as it surely would have), no copy thereof has ever surfaced, and no record of it exists in the censors’ logs. Purest fiction, meant for the silver screen.

So much for the myth.