This on Facebook today :
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This week’s announcement by World Press Photo (WPP-Holland) that they are “suspending” Nick Ut’s credit for the “Napalm Girl” photograph, the now famous picture of young Vietnamese children running for safety, presents what feels like a whole new level of irrelevancy to what was once a powerful, honest guardian and arbiter of photojournalism. As discussions grew over the winter about a new documentary film which claimed to reveal who 'really' took that now famous photograph, there has been a terrible and unfortunate swirl of confidence in journalism itself. I would point out that while I declined to be interviewed in a film whose purpose was quite clear at the outset, neither have I been offered a chance to see and view the final version of the film on my own. The filmmakers, having carefully reached out to groups like World Press Photo during the early marketing phase of the film (which was eventually shown at the Sundance festival in Park City) doubts and discussions began to arise in some quarters about who took the picture.
Four months ago I was the recipient of a note from Joumana El Khoury, the current Executive Director of World Press Photo (whose Press Photo of the Year prize I was awarded in 1980, and on whose Jury I have served several times, twice as Jury Chair) , advising me on January 15 that they felt a need to find out more information about the "true authorship of the photograph," and that they needed to hear from me by January 20, ‘in order to take your statement into account of our decision.’
My response, was to question what kind of journalistic principles would lead them to feel that a decision about a situation that was 53 years on, had to be finalized in five days. I was aware of their supposed determination to create their own research and come up with an answer. Yet since January I have not heard a single word from WPP, and I have come to understand that they have not reached out to Nick Ut or his representatives either in that time. We two, Nick and I, are among the very few still living who were in the Press Corps that day in Trang Bang and while in the heat of the moment, no one spends conscious time monitoring what others do around them in a breaking news situation (no, we are, as photographers, trying to make pictures which tell that day’s story…) my memory is very clear - as it remains on many indelible aspects of my time in Vietnam, on that day of many crucial things. I have previously written on my experience that day, and have not wavered from my story in all these years..
When it became obvious that a stream of civilians were running away from the village center, towards the road on which the press corps was haphazardly assembled, Nick Ut, and Newsweek stringer Alex Shimkin, who were standing next to me, began racing down the road towards the oncoming children. In those next few moments as the children neared, Nick Ut made that picture. In my recollection, no one else was even remotely in a place to take that picture.
Later at the Associated Press office, I had my film processed, edited and printed by the AP darkroom crew, and sent pictures to the New York Times. In those minutes of waiting for the prints to be done, the AP darkroom chief emerged with the first ever 5x7’’ print of what would become known as “the horror of war.” There was never a moment when I doubted that Nick had made that picture, and while in one of my conversations with film producer Gary Knight, he said he had proof that Nick couldn’t have taken the picture, I responded by saying, based on my recall of how Nick had run down the road, ahead of everyone else, “that no one BUT Nick could have taken that picture.”
I still haven’t seen the film “The Stringer,” which strikes me as very uncollegial since Gary called me several years ago to talk about Trang Bang, and asked to see my pictures of that very day, early on in his narrative - before it became clear to me that he was attempting to show that another photographer had made the picture. I would like to see their analysis, but some things are very clear to me, and one of those is that in a desire to become part of the cabal which is embracing this film, World Press Photo is stumbling over its own journalistic shoes as it struggles to remain relevant and of interest in the wake of their own egregious ethical and intellectual lapses.
David Burnett/ New York. May 17, 202