Capa and Taro traveled and worked as equals, their visions so aligned that they sometimes took the same shot. Though Taro often worked in Capa’s shadow, she cast a shadow of her own, and made a name for herself independent of her partner’s. Of the two, Capa always had the bigger name and more unmistakable eye; his maxim, “If your pictures aren’t good enough, you’re not close enough,” has guided many a photographer who followed him. For his iconic images—among them, The Fallen Soldier, picturing a soldier in the instant of death, his body accepting a bullet—the British magazine Picture Post anointed Capa “the greatest war photographer in the world” at the green age of twenty-five. But though his partnership with Taro was central to Capa’s work, she is often treated as little more than a footnote to his biography.In Eyes of the World, just released from Henry Holt, authors Marina Budhos and Marc Aronson seek to right this imbalance.