CONCERNED PHOTOGRAPHER The Falling Soldier Case Introduction Cornell Capa's Concerned Photographer project views photography as a tool for achieving social peace, justice and the general welfare of society worldwide. It also believes that the photographer must provide a human content represented in a static reality and the photographer's respect for truth . The pioneers linked to this photographic criterion belong mainly to the 1 generation of Robert Capa, André Kertész and David Seymour. The concept of truth assigned to photography was questioned by Susan Sontag 2 because the praise of its veracity and honesty "indicates that most photographs are not candid". The codes of ethics of press photography are very strict regarding the intervention of the photographer. Practically, the photojournalist has to limit himself to recording what is in front of the camera. Since the beginnings of the graphic press, the editor Frederick Lewis Allen 3 considers that, in order to guarantee the ethics of the press, the fact reported must be true, correct and without bias because, otherwise, partiality is the enemy of truth. Following the thesis of the Concerned Photographer concept and the codes of ethics of press photography, the methodology applied in this research is of a documentary and analytical nature, avoiding opinions lacking proof and evidence. Thus, the research is focused on the scene of the locality of Espejo, where in 2009 4 the site of the militiaman’s photograph was located. All previous investigations corresponding to Cerro Muriano are not taken into account because they are directly linked to this locality, which Richard Whelan declared as the scene where Robert Capa took the militiaman's photograph. Robert Capa's statements as a starting point for the investigation The only references available to investigate the discussion of the authenticity or staging of the snapshot The Falling Soldier, are Capa's photographs and his statements to various media. The main witness for this report was Gerda Taro, but she passed away on July 26, 1937, months before Robert Capa's information to the press. In the interview in the New York Telegram newspaper 5 he declares that he took the photograph during machine gun fire, a moment he took advantage of to instinctively activate his camera. In John Hersey's article 6 published in Magazine of the Year, he provides some statements by Robert Capa when he says that "timidly raised his camera to the top of the parapet, and without looking [...] pressed the buttons [...] for the random snapshot [...] in the act of falling dead as he ran", and in the interview to WNBC 7 , Capa repeats a month later the same version adding "on the other hill facing us was a machine gun". Only one collateral testimony is known from the Daily Express journalist O. D. Gallagher revealed by Phillip Knightley 8 : Capa complained to Republican officers that he could not get any pictures. Finally a Republican officer said he would detail some troops to go with Capa to a line of trenches nearby, and they would stage some manoeuvres for him to photograph. This exegesis was rejected by Cornell Capa 9 : It saddens me to think that Phillip Knightley would lunch an attack on such a flimsy record on the credibility of the photograph and the integrity of the photographer. 1 CONCERNED PHOTOGRAPHER. The Falling Soldier Case Jose Manuel Susperregui