MELBOURNE, 1 December, 2025: It is a truism (or, as understood), the photographer who takes the photo (from any camera device) is the copyright owner of the photograph (hard copy or digital). In fact, there are numerous views and in the world of news global photo-agencies, the issue becomes complex. Mobile phone cameras emerged in the year 2000, and the world of photos changed. But back in 1972, a photo from the Vietnam war gained global recognition and much awarded. The credit was given, but the actual photographer was someone else. Was he?
This is in a nutshell, the core of the controversy in “The Stringer: The Man Who Took the Photo”. It revolves around the iconic 1972 Vietnam War “Napalm Girl” (nine-year-old Kim Phuc) image (“The Terror of War”), traditionally credited to AP photographer Nick Ut, with the Netflix documentary claiming it was actually taken by Vietnamese freelance stringer Nguyen Thanh Nghe.
The documentary reveals the credit went to Associate Press’s (AP) Nick Ut, but actually should have gone to Ngayen Thanh Nghe, who was working for the AP. The issue is on attribution of the photograph. The question is ethics as the investigator delves deep into the issue of the photograph that shaped the world and gave strength to the anti-Vietnam war movement in the US and the world.
Nguyen Thanh Nghe, is described to have taken the photograph from a Pentax 50mm camera. He is interviewed and graphics are shown to prove how the photo was taken. Investigations (forensic review) by the World Press Photo, lead to suspending (not revoking) the award (1973 World Press Photo of the Year) for the photo to Nick Ut. The photo also got many other awards, which remain. Nick decided not to participate in the documentary. The AP has stood firm with Nick Ut.
The documentary has interviews with Ngayen Thanh Nghe, survivors of the Napalm attack from which a clothless Kim Phuc was running when she was clicked, forensic analysis, rare photos and footage of the Vietnam war, maps etc.
Viewing the one hour and 30 minutes documentary is compelling journalism. I would have liked Nick to give his views on camera. Interestingly, these days good photographs and videos including war imagery, still and moving, also come from common people and are posted on social media. Their attribution one can see with the post (unless it is not real). Times have changed.
At times the documentary is slow moving, but then every effort has been made to deal with the issue of attribution. From a media viewpoint, this documentary is informative,, revealing, and deals with a subject rarely discussed. One does not know how many more Ngayen Thanh Nghe’s are there.
A must see documentary by those interested in good and investigative cinema. A gem in an oasis laced with senseless gory violence and misinformation.
Produced by Bao Nguyen (producer), Gary Knight (producer, via The VII Foundation), Fiona Turner (producer), Terri Lichstein (producer), Jenni Trang Lê (line producer), Ava Romero (associate producer), Executive producers: Multiple (specific names not detailed in sources; includes representatives from XRM Media and The VII Foundation),
Cinematography by Andrew Yuyi Truong (director of photography) Ray Lavers (additional cinematography)
Edited by Graham Taylor (editor)
Music by Gene Back (composer)
Sound Department: Tim Harrison (sound designer, supervising sound editor) Additional sound roles: Dialogue editor, re-recording mixer, mix technician, audio post producer (specific names not detailed)
Other Key Crew: Tam Le (colorist) Visual effects: Motion graphics designer (unnamed)
Featured Individuals / Interviewees / Narrator.
- Gary Knight (narrator, lead investigator, war photographer)
- Carl Robinson (former AP photo editor, whistleblower)
- Nguyễn Thành Nghệ (the “stringer” photographer, central subject)
- Nick Ut (featured in archival footage; credited photographer who disputes the claims)
- Additional interviewees: Fiona Turner (journalist), Terri Lichstein (journalist), Lê Vân (journalist), Phan Thị Kim Phúc (the “Napalm Girl,” in archival context), Tom Fox, Van Than, and others including Vietnamese and American journalists, spouses, and witnesses.
The documentary is streaming on Netflix.
