'We must be willing to ask tough questions': who actually captured the iconic Napalm Girl image?

One of the most enduring images of the 20th century shows a young girl, her arms outstretched, face twisted in agony, and skin blistered, running directly toward the camera after a napalm attack in South Vietnam. Beside her, a boys face reflects intense pain, while two more children flee the devastated village of Trng Bng. Behind them, a group of soldiers and a towering wall of smoke complete the harrowing scene.

Published in June 1972, the photo, officially titled The Terror of War but popularly known as Napalm Girl, quickly became a global sensation. Millions of people saw and discussed it, and it played a crucial role in shaping public sentiment against the US involvement in Vietnam. Critic Susan Sontag later remarked that the distressing image of nine-year-old Kim Phc likely stirred more public outrage than hours of televised footage of the war. British photojournalist Don McCullin called it the finest depiction of the Television War, and fellow journalist Gary Knight described it as one of the most significant photographs ever taken, particularly of the Vietnam War.

For over five decades, the photo was credited to Huynh Cong Nick t, a 21-year-old South Vietnamese photographer for the Associated Press. However, a recent Netflix documentary challenges this long-held belief, claiming the photograph may have been taken by a different individual on the scene in Trng Bng. According to the documentary The Stringer, directed by Bao Nguyen and narrated by Knight, the image was likely captured by a freelance photographer who later sold it to the AP.

The claim traces back to Carl Robinson, a former AP photo editor in Saigon, who alleges that Horst Faas, the head of the AP photo bureau, instructed him to credit the photo to t instead of the freelance photographer. Robinson contacted Knight in 2022, seeking help to identify the unknown photographer, hoping to offer an apology if the person was still alive.

Knight reflected on the challenges freelance journalists face, emphasizing their vulnerability and lack of recognition compared to staff photographers. The documentary investigates the question thoroughly, interviewing witnesses, examining archival footage, and retracing events in present-day Ho Chi Minh City. Their research identified Nguyn Thnh Ngh, an NBC driver and occasional freelance photographer, as the likely author of the image. Ngh, now in his 80s, confirmed he sold the photograph to the AP for a modest sum but had been left uncredited for decades.

The revelation sparked debate in the journalism world. Before the Sundance premiere of The Stringer, the AP published a report defending ts authorship and dismissing Robinsons claims, while some photojournalists opposed the documentary. Despite this, Knight insisted on pursuing the investigation, stating that journalism requires self-examination as much as holding others accountable.

Subsequent reviews, including those by World Press Photo, corroborated that Ngh and Hunh Cng Phc were both plausible candidates for the photograph, ultimately leaving its official authorship unresolved. The filmmakers used forensic analysis and visual studies to suggest that ts version of events was unlikely, while Nghs account aligned with the logistics and positions of those present.

The documentary emphasizes that the goal was never merely to reassign credit, but to provide an honest reassessment. Nguyen notes that Ngh represents a generation of Vietnamese who quietly endured and preserved their experiences. The film seeks to honor their stories, restore dignity, and challenge historical narratives that have often excluded local journalists from their own history.

Knight highlights the systemic marginalization of Vietnamese journalists, noting that many have been erased from accounts of the Vietnam War. The film aims to prompt viewers to reflect on who tells history, who receives recognition, and the power dynamics within journalism today. Nguyen urges audiences to watch with an open mind and heart, acknowledging the contributions of figures like Ngh.

The Stringer: The Man Who Took the Photo is now available for streaming on Netflix.

Analysis: Reexamining the Legacy of “Napalm Girl”

The recent documentary The Stringer raises important questions about the authorship of one of the most iconic photographs of the Vietnam War. For decades, Huynh Cong Út was credited as the photographer, but evidence presented in the film suggests that Nguyễ̂n Thành Nghệ, a freelance photographer and NBC driver, may have been the true author. Nghệ confirmed selling the image to the AP, yet remained uncredited for decades, highlighting the precarious position of freelance journalists.

This revelation does not merely concern attribution; it challenges the broader historical narrative of the Vietnam War and the recognition of local journalists. While the Associated Press continues to defend Út’s authorship, forensic analysis and witness accounts support Nghệ’s version of events. The debate underscores the systemic marginalization of Vietnamese journalists, whose contributions have often been overlooked in global media coverage.

Ultimately, the documentary emphasizes the importance of reassessing history with transparency and fairness. By giving attention to Nghệ’s role, it prompts reflection on who records history, who receives credit, and how the power dynamics within journalism shape our understanding of major events. The Stringer invites viewers to acknowledge the contributions of local reporters and reconsider the narratives long taken for granted.

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• ‘We have to be able to ask difficult questions’: who really took the iconic Napalm Girl photo?