Iconic Vietnam Napalm Photo Authorship Now In Doubt

World Press Photo has suspended its attribution of the Pulitzer Prize-winning photograph “The Terror of War,” commonly known as “Napalm Girl,” to Associated Press photographer Nick Ut, following an investigation spurred by a new documentary. The organization announced Friday it will no longer solely credit Ut with capturing the iconic 1972 image of a young girl fleeing a napalm attack during the Vietnam War.

The decision follows a months-long internal review prompted by “The Stringer,” a film which raises doubts about the photograph’s authorship. The documentary suggests the image may have been taken by a local freelancer, rather than Ut, who has long been recognized for the photograph and awarded both a Pulitzer Prize and World Press Photo’s Photo of the Year award in 1973.

World Press Photo stated its investigation, conducted between January and May, analyzed location, distance, and camera equipment used on the day of the incident. The findings suggest two other photographers present at the scene – Nguyen Thanh Nghe and Huynh Cong Phuc – “may have been better positioned” to take the photograph. Nguyen, featured in “The Stringer,” claims he took the picture.

While acknowledging the investigation raised “real questions that we may never be able to answer,” the Associated Press maintains it will continue to credit Ut with the photograph. AP stated it found it “impossible to prove exactly what happened” over 50 years ago. Ut himself vehemently defended his authorship in a February Facebook post, calling the claims a “slap in the face.”

World Press Photo emphasized the authenticity of the image itself is not in question. “It is without question that this photograph represents a real moment in history,” said executive director Joumana El Zein Khoury.

This situation highlights the inherent difficulties in definitively establishing authorship in photojournalism, particularly in the chaotic environment of war. While the organization’s decision to suspend sole attribution is a cautious and reasonable response to legitimate questions, completely removing Ut’s credit feels premature. The photograph’s impact and historical significance are inextricably linked to Ut’s name and reputation. A more nuanced approach – perhaps joint attribution acknowledging the potential contributions of others – would better serve both historical accuracy and respect for the photographer whose work has become synonymous with the horrors of war. The focus should remain on the enduring power of the image as a testament to the suffering of civilians and a call for peace, rather than getting lost in a debate over who physically pressed the shutter.