Controversy Surrounds Iconic ‘Napalm Girl’ Photo Attribution
One of the most iconic images from the Vietnam War may not have been captured by the photographer long believed to be responsible.
World Press Photo has temporarily suspended its credits for Nick Ut, an Associated Press (AP) photographer, regarding the renowned “Napalm Girl” image, officially titled “The Terror of War.” This photograph gained prominence after it won a Pulitzer Prize in 1973, depicting nine-year-old Hwang Ti Kim Phook, who was severely burned after a napalm attack.
In a recent announcement, World Press Photo stated that their decision to suspend attribution followed a thorough review of the case. They indicated a shift in perspective, leaning towards the possibility that Vietnamese freelance photographer Nguyen Thanh Nghe might have taken the picture instead.
During the Vietnam War, napalm, a highly combustible gel, was extensively used by U.S. and South Vietnamese forces, inflicting horrific injuries and civilian casualties. The infamous “Napalm Girl” photograph, taken during a 1972 attack, captured the brutal realities of the conflict.
The images made headlines worldwide shortly after being taken. For years, Ut maintained a connection with Kim Phook, who sought refuge in Canada after suffering burns from the attack.
In a 2022 interview, Ut reflected on the intense moment of capturing the image, stating that he put down his camera after taking the photo to help Kim and other injured children reach the hospital.
The latest controversy emerged following the release of the documentary “The Stringer,” which debuted at the Sundance Film Festival in January 2025. This film suggests that it was actually Nghe, rather than Ut, who captured the pivotal moment in the village of Tranban on June 8, 1972.
According to the documentary, Nghe was among several photographers present when a South Vietnamese aircraft accidentally dropped napalm on a group of civilians, including Kim Phook. The film alleges that Nghe sold the photo to the Associated Press, but editors mistakenly credited Ut, who was a staff photographer in Saigon at the time. World Press Photo referenced this documentary and new visual analysis as part of their rationale for suspending the attribution, stating that the level of uncertainty warranted this action, although no definitive evidence has shifted the credit away from Ut.
“This suspension will remain until there is clear evidence to support or refute the original attribution,” remarked Jumana Elzeinouly, executive director of World Press Photo.
Nick Ut has vehemently rejected these claims. His lawyer described the decision as “deplorable,” asserting that Nghe’s assertions lack substantial evidence or credible witnesses.
Earlier this month, the Associated Press released a comprehensive report based on interviews, technical evaluations, and old photograph negatives. The findings indicated “no conclusive evidence” to alter the credit for the photograph but acknowledged that establishing a definitive conclusion was challenging due to time constraints and might require a “leap of faith” to lend credibility to Nghe.
World Press Photo indicated there is “strong reason” to question the current attributions. Their research raised uncertainties surrounding the equipment used, Ut’s location, and his ability to take the photograph in question.
The analysis suggested that Ut would have had to run approximately 60 meters (197 feet) to capture it, which they considered improbable. However, the AP countered this, estimating the distance was closer to 33 meters.
Additionally, there’s a possibility that a third photographer, military archer Huynh Cong Phuc, may have actually captured the image. The AP has suggested that all three photographers could have been in a position to take the shot.
The Pulitzer Prize Committee has stated they are “not anticipating future actions,” noting that their awards depend on submissions from news organizations regarding authorship.
