‘Napalm Girl’ photographer Nick Ut responds to claim that he didn’t take famous photo: ‘a slap in the face’
As a fervent appreciator of artistry, I’d like to address the recent speculations regarding the authorship of the iconic 1972 photograph depicting a frightened child fleeing from a napalm bomb attack in her village during the Vietnam War. Contrary to these claims, the esteemed Pulitzer Prize-winning photographer, Nick Ut, has firmly asserted that it was indeed he who captured this poignant moment.
In a statement posted on Facebook Wednesday, Ut claimed responsibility for taking the photograph of Phan Thi Kim Phuc. He also mentioned that he captured other photos from that fateful day, depicting her family and the destruction brought about by the war. He emphasized that no one else has the authority to claim they took the specific or any other photo credited to him, as he is the originator of all his work since the beginning.
The origins of the photo, officially titled “The Terror of War” but more commonly known as “Napalm Girl,” are questioned in the documentary “The Stringer,” which premiered at the Sundance Film Festival in January.
Movies
The Times corresponded with the creators of “The Stringer” and a lawyer representing ex-AP photographer Nick Ut regarding the movie’s assertions, which dispute that Ut captured the iconic “Napalm Girl” photograph.
As a passionate admirer, I’d like to share my thoughts on a compelling documentary directed by Bao Nguyen. This movie delves into a captivating tale, initially sparked by assertions made by Carl Robinson, an AP photo editor in Saigon, who claimed he was instructed by Horst Faas, the chief of photo operations, to misattribute the iconic photograph.
The filmmakers embark on an intriguing journey that eventually brings them to Nguyen Thanh Nghe, a driver for an NBC news crew who happened to be present at Trảng Bàng in South Vietnam on that fateful day. In the film, Nghe makes a stunning revelation: he claims to be the one who actually captured the famous image, which later surfaced at the AP as a freelancer’s work.
50 years after the event, I still don’t grasp why my AP colleague in Saigon, Mr. Carl Robinson, would fabricate a tale and assert that I didn’t take the famous photo, Ut penned in his statement. “Why didn’t Mr. Robinson speak up earlier?” he wondered. “Mr. Robinson was standing next to me when we celebrated the Pulitzer Prize I received on the day it was announced. Mr. Robinson has had plenty of time to reveal the truth before those he is accusing and key witnesses passed away.
In a conversation with The Times prior to the premiere, Gary Knight, a key figure in “The Stringer,” emphasized that their narrative does not solely revolve around Carl.
California
In a remarkable condensation, renowned photojournalist Nick Ut captures his illustrious career in four words: “From war-torn Vietnam to the glitz of Hollywood.
According to Knight, “We spoke with 55 individuals, 45 of them were recorded, and conducted our thorough investigation, a process that’s been validated. Therefore, we didn’t base our findings solely on Carl’s account. Instead, it marked the start of our expedition.
The AP conducted its own investigation into the origins of “The Terror of War” prior to the film’s release and concluded, “The AP has no reason to believe anyone other than Ut took the photo.”
In a recent social media update, Ut asserted that the Associated Press’ method for linking film negatives with photographers during the Saigon period was “absolutely reliable,” and he gave credit to Haas for ensuring the publication of the photo amidst significant resistance.
Ut stated, “In my view, the allegation made by Mr. Robinson is a stark insult to anyone who has devoted their life’s work and career to producing genuine, accurate, and truthful imagery under challenging circumstances such as the Vietnam War.
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2025-02-13 01:31