These are some of the best from friends, colleague and my fellow Vietnam War photographers, most of them now gone: http://www.cnn.com/2014/06/19/world/gallery/iconic-vietnam-war-photos/index.html?sr=sharebar_facebook
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Excited to see some of my creative work on display at Getty Images — even in an election year!
http://www.gettyimages.com/search/sets/yc_U48dMbU29embxmvICkQ#license
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Kennerly modestly refers to himself as a ‘political photographer.’ That’s true, as far as it goes. But it’s like calling Matthew Brady a ‘war photographer’ or Thomas Eakins a ‘Philadelphia portrait painter.” Kennerly is as good as it gets in a craft he defined.”
-HOWARD FINEMAN Global Editor, Huffington Post Media Group
David Hume Kennerly has been a photographer on the front lines of history for more than fifty years. At 25 he was one of the youngest winners of the Pulitzer Prize in Journalism. Kennerly’s 1972 award for Feature Photography included images of the Vietnam and Cambodia wars, refugees escaping from East Pakistan into India, and the Ali v. Frazier “Fight of the Century” World Heavyweight Championship at Madison Square Garden. Two years later Kennerly was appointed President Gerald R. Ford's Personal White House Photographer.
Kennerly’s photos have appeared on more than 50 major magazine covers, and he has documented history in over a hundred countries. He has photographed ten United States Presidents, covered twelve presidential campaigns, served as a contributing editor for Newsweek magazine for ten years, and a contributing photographer for Time & Life Magazines for more than fifteen. American Photo Magazine named Kennerly “One of the 100 Most Important People in Photography”, and Washingtonian Magazine called Kennerly one of the 50 most important journalists in Washington, DC. His work has been exhibited widely and he maintains a busy publishing, appearance and lecture schedule.
In 2019, The University of Arizona Center for Creative Photography acquired the David Hume Kennerly Archive, which features almost one million images, prints, objects, memorabilia, correspondence and documents dating back to 1957. The Kennerly Archive includes iconic portraits of U.S. presidents, world leaders, celebrities and unknown individuals, as well as personal correspondence and mementos such as the helmet and cameras that Kennerly used while photographing the Vietnam War. His work will join that of Ansel Adams, Edward Weston, Richard Avedon, W. Eugene Smith, and scores of other legendary photographers. In 2018, University of Arizona President Robert C. Robbins appointed Kennerly the university’s first Presidential Scholar.
Kennerly marked the 50th anniversary of his professional career covering the 2016 presidential campaign for POLITICO and CNN. His 2015 photo essay of the presidential primary season, “I want to Be with the Circus”, was one of the most widely viewed stories in Politico’s history. His campaign coverage for CNN brought him behind the scenes at major events for both the Clinton and Trump campaigns, including with the winner on election night. Kennerly is a major contributor to the CNN book, Unprecedented: The Election that Changed Everything, and his cover photo of President Trump taken for the book during an exclusive portrait session two weeks after the election, earned Kennerly a late-night Trump tweet which stated: “CNN just released a book called ‘Unprecedented’ which explores the 2016 race & victory. Hope it does well but used worst cover photo of me.”
Kennerly is the author of six books - David Hume Kennerly On the iPhone, Shooter, Photo Op, Seinoff: The Final Days of Seinfeld, Photo du Jour, and Extraordinary Circumstances: The Presidency of Gerald R. Ford. He also produced, “Barack Obama: The Official Inaugural Book,” and was one of its principal photographers.
Kennerly’s fine art photographic prints have been exhibited and collected by museums, corporate entities and individuals around the world. Exhibitions include The Smithsonian Institution, The Annenberg Space for Photography, The Portland Art Museum, Houston Center for Photography, Savannah College of Art and Design in Lacoste France, The University of Southern California, The University of Texas, and a career retrospective at Visa Pour L’Image in Perpignan, France. His work from Vietnam was featured in the War/Photography: Images of Armed Conflict and Its Aftermath, curated by Anne Wilkes Tucker for the Houston Museum of Fine Arts, and Kennerly was featured in the original short documentary, The War Photographers produced as a companion to the exhibit by the Annenberg Space for Photography. Kennerly prints have been collected by the Library of Congress, National Portrait Gallery, Smithsonian and more, including corporations, hotels, restaurants and individuals.
He also maintains a busy appearance and speaking schedule, including on-air commentary, corporate keynotes, academic lecturing and speeches for professional organizations, conferences and panels. Appearances have included The Newseum, Boston Museum of Fine Arts, The Entertainment Gathering in Monterey (EG), Aspen Ideas Festival, The Sea Island Creativity Conference, TED-x Bend, CEO Summit, and Bank of America's board meetings and Student Leadership Summit. He is also sought-after academic presenter and speaks regularly at universities, colleges and libraries, including Stanford, University of Southern California, Harvard’s Kennedy School and Yale’s upcoming symposium on Conflict Photography. He presented the 2015 Commencement speech at Lake Erie College where he received an honorary doctorate. Kennerly is a member of the Canon Explorers of Light program that sponsors an elite group of photographers who lecture at photography events and forums.
Kennerly works extensively in commercial and advertising photography. He has a longstanding relationship with Bank of America, for which he photographs the organization’s extensive social responsibility programs, in addition to creating executive portraits and special event photography. Utilizing the same documentary approach that he uses to photograph world events and their leaders, Kennerly has created a vast archive for Bank of America that documents their corporate culture and international presence over nearly a decade. Kennerly also partners with Bank of America in speaking appearances for their leadership and the public. Additional corporate clients having included The Home Depot, The Girl Scouts of America, eBay, New York Presbyterian Hospital, Vital Voices, the Points of Light Foundation and others. His documentary-style photography and strong focus on portraiture provides corporations and nonprofits with powerful tools for telling their stories. His images have been used in multiple applications from major advertising campaigns to internal documents to fine art décor – even appearing on billboards and the sides of buildings. His most published photographs may be those appearing on the millions of current Girl Scout cookie boxes.
Kennerly also has an extensive film and TV background. He was executive producer for The Spymasters, a 2015 CBS/Showtime documentary about the directors of the CIA. In 2013 he was producer of The Presidents’ Gatekeepers, a four-hour Discovery Channel documentary about White House chiefs of staff. Both projects were in association with the Emmy Award-winning team of Gedeon and Jules Naudet and Chris Whipple. A directing graduate of the American Film Institute’s Center for Advanced Film and Television Studies, Kennerly was nominated for a Primetime Emmy as executive producer of NBC’s, The Taking of Flight 847, and was the writer and executive producer of a two-hour NBC pilot, Shooter, starring Helen Hunt, based on his Vietnam experiences. Shooter won the Emmy for Outstanding Cinematography. He is executive producer of the Academy Award short-listed documentary, Portraits of a Lady for HBO directed by Neil Leifer and starring former Justice of the Supreme Court Sandra Day O’Conner. He also was executive producer of Bucksville, a film shot in Portland featuring Academy Award-nominated actor Tom Berenger. Kennerly is featured in the 2012 BBC documentary The Scot who Shot the Civil War about photographer Alexander Gardner. He directed a television commercial starring former New York City Mayor Ed Koch for New York Presbyterian Hospital.
Kennerly is on the Board of Trustees of the Gerald R. Ford Foundation. He is a member of the board of directors of the Eddie Adams Workshop and Creative Visions Foundation. In 2014, Youngstown State University in Youngstown, Ohio established the David Hume Kennerly endowed scholarship for students of the visual arts.
In 2014, Youngstown State University in Youngstown, Ohio established the David Hume Kennerly endowed scholarship for students of the visual arts.
In 2018 the University of Arizona appointed Kennerly their first UA Presidential Scholar. He will be based at the University’s Center for Creative Photography (CCP). "The images captured by David Hume Kennerly document some of the most important moments in history over the past 60 years, and they have changed how several generations have viewed the world," said UA President Robert C. Robbins. "We are honored to have David share his experience with our students and community.” The appointment exemplifies the university's commitment to advancing the meaning and understanding of interdisciplinary work in the arts, humanities and social sciences – disciplines that are seen as critical to success in the emerging global economy. As a UA Presidential Scholar, Kennerly will work with the CCP to craft a series of lectures and events that draw on his expertise and span campus disciplines. "We expect these events to serve as community activators, bringing together diverse groups of people for dialogue," Robbins said.
Kennerly is on the Board of Trustees of the Gerald R. Ford Foundation. He is a member of the board of directors of the Eddie Adams Workshop, the Press Photographers Association of Greater Los Angeles, and Creative Visions Foundation.
Kennerly Overview: click to view
Winner of the Pulitzer Prize in Journalism for Feature Photography, 1972
Personal photographer to President Gerald R. Ford, 1974-1977
Contributing editor, NEWSWEEK Magazine, 1995-2005
Contract photographer, TIME Magazine, 1973-74, 1977-89
Contributing photographer, LIFE Magazine, 1972
Contributing photographer, GEORGE Magazine, 1996-97
Contributing correspondent, ABC's GOOD MORNING AMERICA SUNDAY, 1996
Contributor, NBC’s The Today Show, 2005-06
Contributing editor, POLITICO 2015
Producer, THE PRESIDENTS’ GATEKEEPERS, Discovery Channel, 2013
Executive Producer, SPYMASTERS, CBS and Showtime, 2016
Executive Producer, PROFILES FROM THE FRONT LINES, ABC reality series based on military personnel fighting in America’s war against terrorism, 2002
Executive Producer and Writer, SHOOTER, NBC two-hour pilot based on his book about Vietnam combat photographers, 1986
Executive Producer, THE TAKING OF FLIGHT 847, NBC Movie of the Week, 1986
Staff photographer, United Press International, 1967-72
Staff photographer, The Oregonian, 1967
Staff photographer, The Oregon Journal, 1966-67
Books: click to view
UNPRECEDENTED: THE ELECTION THAT CHANGED EVERYTHING, CNN 2017
DAVID HUME KENNERLY ON THE iPHONE, Goff Books, 2014
BARACK OBAMA; THE OFFICIAL INAUGURAL BOOK, (Producer) Five Ties Publishing, 2009
EXRAORDINARY CIRCUMSTANCES: The Presidency of Gerald R Ford, University of Texas Dolph Briscoe Center for American Hostory, 2007
PHOTO DU JOUR: A Picture-A-Day Journey through the First Year of the New Millennium, University of Texas Press, 2002.
SEIN OFF: The Final Days of Seinfeld, HarperCollins, 1998
PHOTO OP: A Pulitzer Prize Winning Photographer Covers Events That Shaped Our Times, University of Texas Press, 1995
SHOOTER, Newsweek Books, 1979
Selected Awards: click to view
Pulitzer Prize in Journalism for Feature Photography
Lucie Masters of Photography Award for Achievement in Photojournalism
Overseas Press Club’s Olivier Rebbot Award for Best Photographic Reporting from Abroad
White House Press Photographer's first place for Best Campaign Coverage
World Press Photo contest two first place prizes for Cambodian coverage
National Press Photographers’ contest first prize
Honorary Doctorate, Lake Erie College
American Photo Magazine’s Best Photo books for PHOTO DU JOUR
Named one of the Most 100 Most Important People in Photography” by American Photo Magazine Named one of the top 50 journalists by WASHINGTONIAN Magazine, the only photographer on the list.
President's Award for Excellence in Journalism, Greater Los Angeles Press Club
Primetime Emmy nomination for Outstanding Drama as Executive Producer of NBC’s THE TAKING OF FLIGHT 847: THE ULI DERICKSON STORY
Exhibitions: click to view
Visa Pour L'Image, Perpignan, France - Retrospective
Houston Center for Photography - Retrospective
Smithsonian Institution’s Arts and Industries Building– Photo Op
New York Historical Society - Retrospective
Savannah College of Art and Design in Lacoste France - Retrospective
University of Southern California, Annenberg School for Journalism
University of Texas– Retrospective & Photo Op
Portland Museum of Art - Retrospective
US Capitol, Cannon Building Rotunda
Fine art photography exhibitions at private galleries, Photo Expo, Photo LA, SF & Miami.
Vietnam photography featured in War/Photography: Images of Armed Conflict and Its Aftermath, curated by Anne Wilkes Tucker for the Houston Museum of Fine Arts
Keynote and Speaking: click to view
On-Air news appearances – CNN, CBS News, NBC News, ABC News, Face the Nation, CBS Sunday Morning, Good Morning America, NBC’s Today Show, Morning Joe
Moderator – Moderated World Press Photo conversation among award winners, Newseum’s panel discussion on Vietnam, University of Southern California Annenberg School for Communication, White House Photographers lectures at the LBJ Library, The Gerald R. Ford Library and Museum, etc.
Keynote speaker - Frequent appearances, including Commencement Speech at Lake Erie College, Bank of America’s International Board of Advisors, Student Leaders Summit and, Board of Directors, Eddie Adams Workshop ,International Center for Photography, Gerald R. Ford Museum, Home of the Free Student Photojournalism Project, CEO Summit.
Guest lecturer – Stanford University, The University of Southern California Annenberg School for Communication, Harvard’s Kennedy School, Savannah College of Art and Design: Savannah, Lacoste France,and Hong Kong, Brooks Institute, Santa Barbara, CA. Syracuse University, Eddie Adams Workshop, Photo Fusion Workshop.
Guest speaker – Canon Explorer of Light presenter at numerous venues across America ongoing. Annenberg Space for Photography, The Entertainment Gathering, Monterey, Aspen Ideas Festival Featured Speaker, TedX Bend, Sea Island Creativity Conference.
Karsh Lecture. Boston Museum of Fine Arts
Additional Information: click to view
Contact Pix@kennerly.com. 424.353.0192 with inquiries
Kennerly’s work can be licensed through Getty Images
Kennerly is a Canon Explorer of Light, one of an elite group of photographers sponsored by Canon USA
Website: Kennerly.com
David Kennerly once said to me, ‘In photography everything can be taught, except how to see.’ In his photographs… we see people and historical events through the keen, alert eye of an eminent camera artist.”
- HERMAN WOUK, Author of “The Winds of War”
“David Hume Kennerly is like Forrest Gump, except he was really there.”
-- JAMES EARL JONES
The Other Person in the Room
Since President Lyndon B. Johnson, the White House photographer in many cases has been the other person in the room when the big decisions are made. Not speaking, not taking notes, but rather using his or her camera to record some of the most momentous decisions and events that have ever happened. Their job is to record history, not to make it or influence it.
There have been some legitimate complaints about lack of access for press photographers lately, and I’ve tried to address these. It’s worth noting that Pete Souza, the current Photographer-in-Chief, has taken some hits from the White House press corp because of their unhappiness over White House photo releases and what they feel is his unresponsiveness to their complaints. Because I haven’t covered this Administration I don’t know all the details, but I do know from my own experience as a former chief White House photographer that getting complaints from your colleagues goes with the turf. I have encouraged this White House to try and open the door a little wider for my colleagues, and strongly believe that the White House photographer shouldn’t be competing with the photographers in the press. I also think Pete’s job as a historian with a camera is exemplary, that he’s a real pro, and that his record will be regarded as one of the best.
In the words of my friend, boss, and mentor President Gerald R. Ford, “You can disagree without being disagreeable.” The White House press corps, (and politicians also), might want to take that to heart.
The New York Times Lens blog posted two stories, yesterday and today about my views on the first official White House civilian photographer, Yoichi Okamoto, and the present one Pete Souza.
I include the links here:
http://lens.blogs.nytimes.com/2013/12/10/photographing-the-white-house-from-the-inside/
http://lens.blogs.nytimes.com/2013/12/11/in-fords-white-house-not-holding-back/
The bottom line for me is that the White House photographer’s job is essential for recording history. Every one of us who held that position took flak from the press for one reason or another–anyone in public life does. But the important things is an honest and complete visual record left for the ages. Those photographs better inform understanding of the decisions that were made by the president and others, and what was going in in the room at the time.
50th Anniversary of the “Fight of the Century”
In late 1970 I hounded the bosses at United Press International (UPI) to send me to Vietnam to cover the fighting. The opportunity was slipping away as the U.S. withdrew its troops and transferred the responsibility of conducting the war to the government of South Vietnam. As a young news photographer this was the biggest American story of my generation, the kind I lived to tell, and I didn’t want to miss it.
In January of 1971 UPI finally agreed to transfer me to Saigon. I was going to replace Kent Potter who had been covering Vietnam for three years. Potter and I were the same age, 23. I was really excited about finally being able to get to the action. Although several photographers had died there over the years, I hadn’t let that bother me, until two weeks later on February 10, when four photographers were shot down in a helicopter over Laos and were killed. A personal hero of mine Larry Burrows of LIFE, Henri Huet of AP, Keisaburo Shimamoto of Newsweek, and UPI’s Kent Potter who was supposed to switch out with me. Although I didn’t know Potter it freaked me out to think of stepping into his job under these circumstances. What was I doing? This was seeming totally nuts and even more dangerous all of a sudden. I started to have grave second thoughts, but the idea of changing my mind and not going seemed like an even worse option. I also didn’t want to look back years later and regret not doing it, an even scarier thought.
The next few weeks turned into one big going away bash. It seemed like I and everyone else thought this was going to be a one-way trip, so the theme became, Let’s Party!
As a parting gift to me, or perhaps a guilty farewell present because they knew I was going off to my death, the UPI brass offered me a coveted assignment. A ringside position at the Ali-Frazier “Fight of the Century" at Madison Square Garden in New York on March 8th. It was my last domestic job before shipping out to Vietnam.
When fight day arrived I was totally fatigued from too much booze, cigarettes, and fun . . . The afternoon of the fight I could barely move. I was staying at friend and mentor Dirck Halstead’s place in NYC. As I was preparing to drag myself out the door to go the fight he took one look at me and said, “Jesus Kennerly, you look like shit, here, take this pill.” I had no idea what it was, but I definitely needed something.
By the time I got to the Garden I was on fire. My eyes were wide, my reflexes cat-like. The spiderwebs had been exorcised from my brain. Bring ‘em on, I couldn’t wait for the main event.
I was squeezed in between three other photographers as we all leaned over the apron of the ring trying to shoot under the ropes. Turned out I couldn’t miss. In the fifth round I froze Frazier as he drove a right hook into Ali’s head that ricocheted off his face. It happened in a nanosecond. Ali’s expression was contorted by the force of the blow.
As the fight culminated in the 15th and final round it appeared that Frazier was ahead.
Smokin’ Joe sealed the deal with a lightning-fast left hook that knocked Ali off his feet. This video shows just how fast it all happened.
I caught The Greatest as he headed down. In my head it was slow motion, in reality it was a fraction of a second, and I nailed it.
The final bell rang, and Frazier raised his gloved hand in victory right above me. After the fight, Larry DeSantis, UPI’s chief editor, congratulated me on my coverage.
I woke up the next morning to see my Ali knockdown photo on the front of the New York Times. It was also my 24th birthday. I also scored the front of the New York Daily News with my image of Frazier landing the right to Ali’s head. Being published on page one of both those papers when they had several of their own photogs at the event was unprecedented, and my colleagues most likely weren’t happy about it. I was probably going to be safer in Vietnam! That photo of Ali falling also became part of my Pulitzer portfolio for the work I did in 1971. It included photos from the Vietnam War, Cambodia combat, and refugees pouring into India from East Pakistan.
The only other person who caught that decisive moment was Elliot Erwitt who was up in the stands shooting for Magnum.
His wide shot must have been taken within a millisecond of mine, because it happened so fast and ended almost as soon as it started. I am in Elliott’s frame, second from left of the four photographers on the apron in the foreground as Ali goes down.
The day after the fight I asked Dirck what the hell he gave me. “That was a purple heart,” he said. (Further research revealed that the tag came from the pill’s triangular shape and blue color. Officially it was Dexamyl, a mood elevator that was an amphetamine/barbiturate combo). First and last time I took one of those, but who knows what would have happened otherwise. One thing’s certain, and this can be corroborated by family and friends, I usually produce plenty of my own energy, and that’s normally how I fly!
On Winning a Pulitzer Prize 50 Years Ago
Fifty years ago today, May 1, 1972, a message reached me in Saigon that changed my life. It said I had just won the Pulitzer Prize in Journalism for Feature Photography. Here’s an edited version of the story as recounted in my book Shooter published in 1980.
I got the call at 4 a.m. from Saigon United Press International news bureau chief Bert Okuley. He said, "You'd better come down here and have a look at this message.” His voice was grave. All I could think was there had been a problem with the photos I sent out earlier taken by a freelancer of the North Vietnamese offensive in Quang Tri near the DMZ. I ran down the stairs from my apartment to Okuley's office. "Look at this," he said, handing me a sheet of paper torn from the wire machine:
“KENNERLY HAS WON PULITZER FOR FEATURE PHOTOGRAPHY”
The cable read (in all caps): "01170 SAIGON-KENNERLY HAS WON PULITZER FOR FEATURE PHOTOGRAPHY, WHICH BRINGS CONGRATS FROM ALL HERE. NOW NEED EFFORT SOME QUOTES FROM HIM AND PINPOINT HIS LOCATION WHEN ADVISED FOR SIDEBAR STORY, BRANNAN/NX CABLES."
I was dumbfounded. I didn’t believe it. How could I have won my profession’s highest award when I didn’t even know I was nominated? I thought it was a mistake or a prank. Bert sent a message back to New York, asking for clarification: "02054 EXHSG BRANNAN'S 01170 ARE YOU KIDDING? IF SO IT ISN'T MUCH OF A JOKE. IS THERE A PULITZER AWARDED TO A UNIPRESS PHOTOG AND IS IT KENNERLY? OKULEY." At that moment the wire machine decided to break down and we were cut off from the world. I hadn't had a cigarette for months, but right then and there I started smoking again.
Three hours and many cigarettes later, the wire machine finally came back to life and a flood of messages spewed out. The first one said, "01181 OKULEYS 02054 NO KIDDING AND CAN YOU REACH KENNERLY FOR SUDDEN COMMENT NEED TO KNOW WHERE HE WAS WHEN HE GOT THE NEWS. WOOD/NX CABLES."
The Pulitzer Prize is the premier award in the news business, something almost all photographers and writers dream of winning. Without my knowledge, UPI’s top photo editor Larry DeSantis had submitted a portfolio of pictures I'd taken the year before in Vietnam, India, Cambodia, and at the Ali-Frazier championship fight right before I left for Saigon. There were eleven photos, all taken in 1971.
The citation from the Pulitzer committee read: "For an outstanding example of feature photography, awarded to David Hume Kennerly of United Press International for his dramatic pictures of the Vietnam War in 'They also noted that "he specializes in pictures that capture the loneliness and desolation of war." The representative picture the committee selected from my portfolio was the one I had taken of a G.I., his weapon at the ready, walking over the scarred landscape of a god-forsaken place the soldiers had given the improbable name of LZ Hot Lips.
That night I lay in bed staring at the slowly rotating blades of the ceiling fan while the question circled in my mind: "What does it mean?" I decided it meant I had to go back out in the field and take pictures. My opportunity came the very next day, when Dirck Halstead, my close friend and mentor, showed up to cover the ongoing North Vietnamese offensive for Time Magazine.
Four years earlier Dirck had convinced the UPI executives in New York that a young photographer named Kennerly who was working for them in Los Angeles should be brought to New York. It was a big step up. Not long after I arrived in the city I began getting important assignments thanks to him. Halstead was UPI’s star shooter, and I was grateful that he chose to share some of the best jobs with me.
"Where's the action?" Dirck asked.
“ An Loc, the NVA have cut the place off," I told him. An hour later we jumped into an old ’58 Ford from the Caravelle Hotel and headed toward the action. Leon Daniel, a UPI newsman and one of the bravest correspondents I had ever met, joined us. (Leon was shot in the leg during the Korean War and still limped because of his old wound.) When we got to the area about 30 miles from Saigon we stopped to photograph South Vietnamese armored vehicles. Leon took a photo of me and Dirck in front of one.
All was quiet, but not for long. At that moment a bullet pinged off the pavement near Leon's good leg. We all hit the deck near our cAR. Two other newsies who had arrived minutes behind us in a white Toyota, decided to depart. A B-40 rocket blew up where they had been seconds before. We were crouched down near our car, but it was a target.
We told our driver to take off, and he high-tailed it. We ran toward soldiers who were returning fire. Incoming mortar rounds were blowing up all around us. We were surrounded.
Intense fire from the NVA kept us pinned down. A dozen or more ARVN troops were killed all around us and many were wounded during the firefight. One soldier lay near me bleeding to death, he had been shot in the crotch. A medic bandaged him up.
Communist troops were so close we could see them running across the road. One South Vietnamese soldier pointed in their direction and started screaming, "Beaucoup V.C! Beaucoup V.C!" Sgt. Ronald MacCauley, a U.S. advisor to the Vietnamese shouted, "Shoot the fuckers, don't just yell at them!" (MacCauley was awarded a Silver Star for his participation in the battle for An Loc for his heroic actions three weeks after we were with him).
We'd been pinned down for more than two hours when the first air strikes called in by Sgt. MacCauley and a Vietnamese major came in on top of the North Vietnamese combatants. A giant piece of shrapnel from one of the exploding bombs whizzed over our heads. It had been raining and we were covered with mud. Dirck got a shot of me that I later used on the cover of my book. It definitely caught the moment! I crawled over to Dirck and asked if this was what he'd had in mind for action. Always cool under fire he calmly said, “Can’t wait to have a drink at the Melody Bar tonight.”
After being heavily blasted from the air the North Vietnamese finally withdrew, and things quieted down. Wet and shaken, we were wondering how we were going to get our asses out of there. In the distance we heard the sound of a car heading our way fast. He’s back! Our driver screeched to a stop, and yelled, “Need a ride?” He was laughing as we scrambled aboard. He got a big tip for that mission.
Back at the Melody Bar that night Dirck, Leon, and I tossed back a few and marveled at how close we’d come to getting whacked. Dirck apologized for being the catalyst that almost got me (and him) killed. He hoisted his cognac and said, “Oh, by the way, congrats on winning the Pulitzer.” We laughed and clinked glasses.
To celebrate the 50th Anniversary of me receiving the Pulitzer Prize in Journalism for Feature Photography on May 1, 1972, I’m making the winning portfolio of those pictures available for purchase in a boxed set. It will include the photo Dirck took of me in combat the day after I won.
https://kennerly.com/archive-deck/new-pulitzer-prize-portfolio
Contact me at pix@kennerly.com for details!
Altered States
AP was right to fire this Pulitzer-winning photographer. The line has to be held against manipulation of news photos, otherwise nobody will ever believe what they see. Many don’t already. I feel bad for the photographer, he admitted what he did was wrong, and took responsibility. I hope this lapse of judgment doesn’t ruin his career, he’s a brave guy, and has made many good photos that we presume weren’t digitally altered.
Nixon Resigns, Ford is President: 50 Years Ago, August 9, 1974
Nixon Resigns, Ford is President: 50 Years Ago, August 9, 1974
On August 8, 1974, President Richard Nixon sat behind his desk in the Oval Office waiting to go on live television. He was about to announce that he would be resigning from the presidency the next day. He was the first and last President of the United States to do so. The moment was being recorded on video as his personal White House photographer of six years Ollie Atkins wanted to get some pictures. In their exchange the president said, “Ollie. Only the CBS crew now will be in this room during this, only the crew.” Ollie seems to push back, Nixon tells him, “No, no there will be no picture after the broadcast. No. You’ve taken your picture. Didn’t you take one just now? That’s it! Because you know we didn’t let the press take one. So you’ve taken it. Just take it right now, this is right after the broadcast, you got it? C’mon!” I found this tape in the Nixon Library. I knew Ollie had limited access during his tenure as Nixon’s photographer, but this underscored it. I felt bad for him.
The next day was historic, not a word I use lightly. I was on the South Lawn of the White House shooting for TIME Magazine as President Nixon and First Lady Patricia Nixon walked out of the Diplomatic Reception Room of the Executive Mansion to his waiting helicopter. He was accompanied by Vice President and Mrs. Gerald R. Ford, They said goodbye at the steps of Marine One, and Mrs. Nixon boarded the aircraft. President Nixon walked after her to the top step, turned and momentarily looked at the South Portico of the White House. It was the last time he would see it as president. His lips pursed he gave a curt wave.
Nixon looks at the White House for the last time as president, then waves goodbye
He continued waving as members of his staff started applauding him. That triggered an old political rally response. Nixon put both arms up and gave a double V-sign to the cheering crowd. Except it wasn’t a rally, but one of the darkest days in American history.
The soon-to-be-president Ford waved at Nixon through the helicopter’s window, then he and Mrs. Ford turned and walked away.
Along with the Nixon’s daughter Julie and son-in-law David Eisenhower, grandson of the 34th president. They watched as the helicopter took off and flew by the Washington Monument as it receded in the distance. President Ford told me, “We couldn’t help but feel sorry for a very dear friend and his wife . . . but at the same time, to be honest, I was anxious to turn around, walk in, and get started on my new responsibilities.”
A short time later, at 12:05 pm in the East Room of the White House, with Mrs. Ford holding the family bible, Gerald R. Ford was sworn as the 38th President of the United States by Chief Justice of the Supreme Court Warren Burger.
In his address upon taking the oath of office as president he said, “ . . . I assume the Presidency under extraordinary circumstances never before experienced by Americans. This is an hour of history that troubles our minds and hurts our hearts.” He went on to declare, “our long national nightmare over.” I caught that moment. He looked grim but resolved to deal with what lay ahead.
That night I was invited to the Ford’s modest home in Alexandria where I took photos of the new First Family in their humble abode. (Because of the abrupt transition they wouldn’t move into the White House for several days). They had a quiet celebration with a few close friends. Mrs. Ford and the new president toasted one another. “Here’s to our new life, god help us,” she said with a smile.
The president asked me to stay after their friends left. Even though the subject had never come up, I believed that he wanted to talk to me about becoming his chief White House photographer. I had given it a lot of thought in case he asked but wasn’t sure I wanted the job. Knowing that Nixon’s photographer Ollie Atkins had been given limited access, I couldn’t see myself in a similar role. There was no way I would sit outside the oval office door waiting for some secretary to tell me to go in, “but only for a minute.” Like my hero Yoichi Okamoto who was President Lyndon Johnson’s photographer (and the first civilian White House photographer), I wanted the run of the joint.
The president and I sat together on a couch in their living room, he was smoking his pipe. We talked about the day's events and then he asked me if I would like to work for him. Even though I suspected this might happen I found the whole idea of him offering me a job him on the same day that he became President of the United States right out of a Twilight Zone episode! After all, I was only 27 years old and a kid from a little lumber town in Oregon. “Shouldn’t he be talking to Henry Kissinger?” I thought. But what I told him was that I would love to do that, but with a couple of requests. One is that I would report directly to him, and the other is that I have total access to everything going on in the White House. He stopped smoking his pipe. Oops, I probably overstepped. I thought about what I would tell my parents. “The president offered me a job and I basically told him to shove it.” Good going kid. But President Ford started laughing and said, “You don’t want Air Force One on the weekends?” He thought my demands were not only reasonable, but that’s how he wanted me to roll. He said would talk to chief of staff Al Haig to make sure Ollie would be given the news before we finalized the deal. Yet another flash of his humanity.
"Dave," he said as I was preparing to leave, "if you work for me, won't it be viewed badly by your colleagues? I mean, after what's happened the last few years." I said, and I will admit to having tears in my eyes, "Mr. President, if you're the kind of president I know you're going to be, my friends in the business, most of whom you know, will be proud to have me work for you.”
The following morning I photographed the new president leaving his Alexandria home as he headed for his first full day at the White House. I went back to my office at Time and was sitting in the mail room with my feet on the desk talking to my good friend and fellow photographer Dave Burnett. I was telling him what had happened the night before when the phone rang. The switchboard operator said in a quavering voice, "It's the President for you, Dave.” I jokingly told her to have him call back. “He's on the line!” she practically screamed at me. It was him all right, still making his own calls. “How'd you like to come to work for me?" Ford asked. “When do you want me to start?" was all I could think to say. “Get over here right away," he responded, "you’ve already wasted a half a day of the taxpayers' money.” Slamming the phone down after he hung up, I jumped up and yelled to Burnett, "Holy shit, it’s happening!”
I hurried across Lafayette Square to the White House where I would serve as President Ford’s chief photographer for the next two and a half years, the third civilian to hold that position. President Ford was good to his word. I had the run of the place both upstairs and downstairs. I finally ended up where every photographer wants to be--in the room where it’s happening. Being the president’s photographer was one of the best assignments of my life, and I will always be grateful to the Fords for sharing their lives in the White House with history and with me.
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How It Started!
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