Who Really Took the Famous “Napalm Girl” Photograph?

The haunting image of a young Vietnamese girl fleeing in terror from a napalm attack, her skin burned and raw, is seared into our collective memory. Known as “Napalm Girl,” this photograph, taken on June 8, 1972, in Trang Bang, became an instant indictment of war’s brutality. For decades, it’s served as a powerful symbol of anti-war sentiment, starkly reminding us of the devastating human cost of conflict.

But recently, a veil of uncertainty has fallen over this iconic image. A new documentary, “The Stringer,” premiered at Sundance, igniting a firestorm of controversy by alleging that the photograph, long attributed to Associated Press (AP) photojournalist Nick Ut, was actually captured by a Vietnamese cameraman working for NBC.

South Vietnamese forces pursue terrified children, including 9-year-old Kim Phuc, center, as they run down Route 1 near Trang Bang following a napalm attack on suspected Viet cong hiding places on June 8, 1972. (Full-frame version.)

By Nick Ut/AP Photo.

The documentary posits that a Vietnamese cameraman named Nguyen Thanh Nghe captured the photograph. It highlights Nghe’s experience as a war photographer for NBC and suggests his intimate knowledge of the conflict could have led him to be in the right place at the right time.

This revelation has sent shockwaves through the art and journalism communities. It raises crucial questions about authenticity,attribution,and the very nature of past documentation. Was Nghe credited appropriately for his work? Were his contributions sidelined simply as of his nationality? And what does this revelation say about our trust in historical narratives?

The Photo That Shook the World: A Legacy of Doubt

The world knows it as “napalm Girl.” The iconic photograph of a young Vietnamese girl fleeing a napalm attack in 1972 has become a powerful symbol of the horrors of war. It’s attributed to Nick Ut, a photojournalist with the Associated Press. But a new documentary challenges this long-held narrative, suggesting that the credit may belong to someone else entirely.

Nghe, a photographer claiming to be the original shooter, believes the credit was deliberately switched. “I knew right away,” he states in the documentary, recalling the moment he realized Ut, an AP staff photographer, was being credited for his work. According to Nghe, ut wasn’t the only photographer present that day. Yet, somehow, Nghe’s image, captured as a freelancer, was attributed to Ut.

Adding to the mystery, a former AP photo desk editor, David Robinson, admits to years of internal conflict. “I have carried this burden for 50 years and never gone public,” he confesses. “Simply put, Nick didn’t really take that famous picture.” Robinson, the person responsible for selecting images for publication, reveals that he initially preferred a picture from a stringer. He found Ut’s angle,which captured the girl running from the side,to be less compelling. However,Faas,the AP’s chief photography in Saigon,overruled Robinson,choosing Nghe’s photograph instead.

Robinson remembers Faas’s decisive words vividly: “‘Nick Ut. Make it ‘Nick Ut.’ Make it ‘staff.’ Make it Nick Ut.’ Those have been with me the rest of my life. I’ve always felt bad about that my whole life that I didn’t, that I wasn’t heroic enough.”

Unable to recall the name of the stringer whose photo he favored, Robinson believes Nghe’s claims hold weight.”the likely photographer,” he says, “was an unfamiliar stringer. He wasn’t part of our regular army of stringers. It wasn’t a name I was familiar with, so I didn’t remember it.”

What Ethical Considerations Arise When Historical Photographs Can Be Contested or Their Authorship Disputed?

The case of “Napalm Girl” raises crucial questions about the ethics of photographic attribution and the preservation of historical accuracy.When historical photographs are contested, it challenges the very foundations of how we understand past events. Here are some key ethical considerations:

• Attribution and Credit: Accurately attributing photographs is basic to respecting the work of creators and ensuring historical openness. Mistakes or purposeful falsehoods can lead to misrepresentation and unfairness.
• Impact on the Photographer’s Legacy: The wrongful attribution of photographs can have a devastating impact on the original photographer’s reputation and legacy. Conversely, rightful recognition is essential for their work to be valued and celebrated.
• Historical Record and Accuracy: Photographs are invaluable historical documents. Disputes about authorship can blur the lines of truth and undermine our understanding of past events. It’s crucial to strive for accuracy and clarity when presenting photographic evidence.
• Transparency and Accountability: When questions arise about photographic authenticity, transparency is paramount. Institutions and organizations that handle archival materials have a responsibility to investigate claims thoroughly and be open about their findings.
• Impact on Public Perception: Contested photographs can influence public opinion and shape narratives about historical events. It’s crucial to ensure that the public has access to accurate information and can form their own informed conclusions.

The “Napalm Girl” controversy serves as a stark reminder of the complexities surrounding photographic history. It highlights the need for ongoing vigilance, rigorous fact-checking, and a commitment to ethical practices in the handling and presentation of photographic evidence.

A Legacy of Doubt: Former AP Photo Editor Speaks Out

The Pulitzer Prize-winning photograph of a naked Vietnamese girl fleeing a napalm attack in 1972 has become a searing image of war’s brutality. Widely attributed to Nick Ut, it has been etched into the global consciousness as a powerful testament to the human cost of conflict. But a new documentary,”The Stringer,” raises questions about the photograph’s origins,suggesting that credit might belong to someone else entirely.

David Robinson, the former AP photo desk editor in Saigon during the Vietnam war, was present when the image, now known as “Napalm Girl,” arrived at the agency’s office. He spoke exclusively with Archyde to shed light on the controversy surrounding the photograph and the weight of his own mixed feelings about it.

“For 50 years, I’ve carried this heavy burden, this feeling of what-if,” Robinson admits, his voice heavy with regret. “I can’t say for sure who actually took the photo,but I can say with certainty that I chose a different picture initially.A stringer’s image spoke to me more powerfully.”

The documentary “The Stringer” points the finger at Nguyen Thanh Nghe as the likely photographer.Robinson, who worked closely with stringers during the war, believes Nghe’s claim. “The thing is, none of the stringers’ photos were labeled,” he explains. “The system wasn’t as organized as it is indeed today. I didn’t keep anyone’s names attached to their images in a way that would be readily accessible later on. All I remember is that I found the stringer’s image more impactful, more honest, and yet Faas overruled me.”

“Faas always had a knack for picking pictures that were more visually impactful, even if they weren’t necessarily the most emotionally resonant,” Robinson continues, referring to Hal Buell Faas, the then-chief photographer for the Associated Press.”He thought Ut’s angle was more ‘clinical’ and thought that would be what news organizations would favor in that moment. Faas said, ‘Nick Ut. Make it ‘Nick Ut.’ Make it ‘staff.’ Make it Nick Ut.’ Those words have haunted me ever since.”

Robinson wrestles with the question of whether he should have spoken up sooner. “If I could go back, I would have fought harder,” he says, his voice tinged with conviction. “Not to take credit from someone else, but to make sure the photographer who should have been recognized, the one whose vision captured that moment so profoundly, was given their due. History is full of stories like this, where individuals are overlooked or forgotten. This photo, for me, became a symbol of that, of a legacy built on doubt.”

The world of photojournalism is facing a critical crossroads.

As the line between authentic and fabricated imagery blurs in the digital era, questions surrounding image ownership, attribution, and the very fabric of truth become increasingly complex. This is exemplified by recent controversies where photographs were repurposed without proper credit,raising profound ethical dilemmas for all involved.

One might ask, what tangible symbol encapsulates this growing concern?

This very act of appropriation, this disregard for the photographer’s original intent and contribution, underscores the urgent need for a deeper examination of responsibility within the field of photojournalism. as we navigate this intricate landscape, where images can be manipulated and distributed with unprecedented ease, it becomes paramount to ensure that the voices and contributions of photographers are accurately recognized and respected.

How can advancements in digital archiving technology,such as facial recognition and blockchain,help resolve controversies surrounding image attributions?

The Echoes of a Lost Photo: A Conversation wiht Julia Davis,Archivist at the Vietnam Veterans Memorial

The iconic photograph of a naked Vietnamese girl fleeing a napalm attack in 1972,known as “Napalm Girl,” has been attributed to Nick Ut,a photojournalist with the Associated Press. But controversy surrounds its origins, with some claiming the credit belongs to a different photographer. Julia Davis, an archivist at the vietnam Veterans Memorial, offers her perspective on this enduring mystery.

Interview with Julia Davis

Archyde: Ms. Davis, the dispute over the “Napalm Girl” photograph has garnered significant attention. What insights can you offer into how archival practices have evolved since 1972, and how these changes might impact such controversies?

Julia Davis: ItS a complex issue. In the 1970s, archival practices were less standardized. While the AP strived for accuracy,the focus was more on swift dissemination of information than meticulous record-keeping regarding image provenance.Today, there’s a much greater emphasis on metadata, the documentation associated with each photograph. We embed information about the photographer, date, location, and any known context, making it harder for attribution to be lost or misrepresented.

Archyde: The documentary “The Stringer” alleges that the AP, in that era, might have prioritized an established photographer’s name over an unknown stringer’s contributions. Can you comment on how historical biases might influence these decisions?

Julia davis: Absolutely. Sadly, such biases existed and continue to exist in many fields, including journalism. There’s a tendency to favor established names, to seek confirmation of our existing narratives. This can, and often does, marginalize the voices and work of individuals from underrepresented backgrounds. It’s crucial to actively challenge these biases, to ensure that historical accuracy reflects the full story, not just the dominant one.

Archyde: This case raises a essential question –how do we balance the need to preserve historical narratives with the need to correct past inaccuracies?

Julia Davis: It’s a delicate balancing act. We must acknowledge that history is not static; our understanding evolves over time. we have a obligation to correct inaccuracies, to give voice to those who were previously silenced.However, this should be done with sensitivity and care, recognizing that historical narratives are often complex and multifaceted.

What are your thoughts on this ongoing debate? Share your views in the comments below!