Press Photographers

>> "VISITING WITH HUELL HOWSER" IS MADE POSSIBLE THROUGH A GENEROUS GRANT THROUGH THE RALPH M. PARSONS FOUNDATION.

[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] >> WELL, HELLO, EVERYBODY.

I'M HUELL HOWSER AND, OF COURSE, THIS LITTLE DEVICE NEEDS NO INTRODUCTION.

IT'S AN iPHONE.

THIS IS WHAT PEOPLE TAKE PHOTOGRAPHS WITH.

YOU CAN INSTANTLY PUT IT ON FACEBOOK OR SEND IT TO FRIENDS OR RELATIVES ALL OVER THE WORLD.

THIS IS THE PRESENT.

THIS IS WHAT PEOPLE USE TODAY.

BUT WE ARE NOT HERE TO TALK ABOUT TODAY AND WE ARE NOT HERE TO TALK ABOUT PEOPLE WHO TAKE THESE PHOTOGRAPHS FOR THE FUN OF IT.

WE ARE HERE TO TALK ABOUT THE PAST, THE PRESENT AND THE FUTURE AND, MORE SPECIFICALLY, ABOUT INDIVIDUALS WHO HAVE TAKEN AND CONTINUE TO TAKE PHOTOGRAPHS FOR A LIVING.

THEY ARE PROFESSIONAL PHOTOGRAPHERS.

WE ARE HERE ON THE "QUEEN MARY" FOR THE 75th ANNIVERSARY OF THE PRESS PHOTOGRAPHERS ASSOCIATION OF GREATER LOS ANGELES, AND HERE--EVERYBODY WHO'S A PROFESSIONAL PRESS PHOTOGRAPHER PUT YOUR HANDS UP.

THEY'RE ALL PROFESSIONALS RIGHT HERE.

[LAUGHING] HAPPY PROFESSIONALS, TOO.

BUT LET'S GO BACK IN TIME A LITTLE BIT MORE BECAUSE HERE IS ANOTHER PROFESSIONAL RIGHT OVER HERE.

HE'S HOLDING UP HIS CAMERA.

>> I WANT TO TAKE YOUR PICTURE, HUELL.

CAN I?

>> OH, I'M SORRY.

>> OK, THIS--JUST DON'T BLINK, THOUGH, PLEASE.

WE ONLY GET ONE SHOT AT A TIME.

THAT'S IT.

HOLD IT RIGHT THERE.

SMILING.

SMILING!

>> OH!

>> HA HA!

>> YOU REALLY TOOK ONE!

>> JUST ONE MORE.

>> THERE'S--THERE'S ANOTHER ONE?

>> WELL, WE ONLY SHOT 2 SHOTS AT A TIME.

>> WOW.

YOUR NAME, SIR, IS?

>> GARRY WATSON.

>> OK, YOU'RE ONE OF THE FAMOUS WATSON BROTHERS OF HOLLYWOOD.

>> YEAH, YEAH, WE'VE BEEN IN MOVIES AND BEEN HIT AND RUN ON STORIES, YOU KNOW?

ONE OF THOSE-- >> YOU'VE BEEN A PROFESSIONAL PRESS PHOTOGRAPHER FOR HOW MANY YEARS NOW?

>> 45.

>> AND WHEN YOU STARTED OUT, THIS IS WHAT YOU USED.

EXPLAIN THIS TO EVERYBODY.

>> WELL, THIS IS A SPEED GRAPHIC.

UH, LATER--WELL, I STARTED WITH AN OLDER ONE IN HIGH SCHOOL, SHOOTING ALL THE PICTURES DURING THE WAR IN HIGH SCHOOL 'CAUSE THEY HAD NO FILM OR CAMERAS THEN.

AND THEN, WE GOT TO MOVING, UH, FROM HIGH SCHOOL INTO DOING AP NEWS PICTURES, WHICH WE TRANSMITTED FILM PICTURES OVER THE WIRE TO ALL THE STATES, AND THAT'S WHERE I GOT MY START THERE.

AND THEN, I MADE PICTURES, ACTED, DIRECTED, AND EVERYTHING ELSE.

>> WERE THESE THE KIND OF CAMERAS THAT PROFESSIONAL PHOTOGRAPHERS--NEWS PHOTOGRAPHERS-- >> THE ONLY KIND, AND THESE-- >> WOULD HAVE USED?

>> THE POLICE RECOGNIZED THIS CAMERA RIGHT AWAY BECAUSE IT WAS SOMETHING THAT NOBODY ELSE COULD HANDLE, COULD SHOOT, COULD WORK WITH, AND THEN, YOU HAD TO HAVE PROCESSING DONE AND THERE WAS NO PLACE EXCEPT THE NEWSPAPERS TO HAVE IT PROCESSED.

>> SO, THESE WERE THE CAMERAS THAT TOOK THE PICTURES, WHAT?

IN THE TWENTIES?

THIRTIES?

FORTIES?

FIFTIES?

>> I STARTED 1948 THROUGH THE FIFTIES AND SIXTIES.

>> AND THEY ALL HAD THESE BULBS THAT WERE SO BRIGHT WHEN THEY FLASHED, WHEN YOU SAW ONE.

>> THEY HAD TO BE.

>> AND WHEN YOU WERE OUT TAKING PHOTOGRAPHS, YOU WERE TAKING A LOT OF PHOTOGRAPHS, ONE RIGHT AFTER THE OTHER, SO YOU HAD TO BE PUTTING IN AND TAKING OUT BULBS ALL THE TIME.

>> YEAH, WELL, YOU ONLY CARRIED 10 OR 12 HOLDERS.

THAT'S 24 SHOTS, AND WE--I WAS SHOOTING VICE PRESIDENT HUMPHREY.

HE WAS THE VICE PRESIDENT, AND HE WAS JUST A--WELL, A SENATOR, I GUESS, AND HE BLINKED.

WE HATED THAT BECAUSE WE HAD TO CHANGE THE HOLDER, SEE?

WE HAD TO PULL IT OUT AND TURN IT OVER.

>> LOOK AT THIS.

THIS IS VERY COMPLICATED.

>> AND RECOCK THE SHUTTER AND PUT THE BULB IN, DRAW THE SLIDE, TURN IT OVER, STAND IT UP AND SHOOT.

>> FOR EACH PICTURE?

>> YEAH, EACH PICTURE.

AND IF HE BLINKED, THAT MEANT WE DIDN'T HAVE A PICTURE TO SHOOT, MAYBE OF A TRAIN WRECK OR SOMETHING.

>> BUT YOU REALLY DIDN'T EVEN KNOW THAT HE BLINKED FOR SURE.

>> OH, YEAH, WE DID.

>> YOU COULD TELL LIVE WHETHER HE WAS BLINKING OR NOT?

>> WATCH THE EYES.

THE EYES HAVE IT, AND IF THEY--IF THEY BLINKED, YOU'RE, "UGH!

DON'T DO THAT AGAIN, PLEASE."

>> ALL RIGHT, NOW, LISTEN, WE'RE STANDING IN FRONT OF THEIR EXHIBITS OF THESE WONDERFUL AWARD-WINNING PHOTOGRAPHS ALL OVER THE WALLS HERE.

THIS IS ONE OF YOURS.

NOW, I DON'T KNOW WHETHER THIS CHANGED THE COURSE OF HISTORY, BUT IT SURE MADE A LOT OF PEOPLE SMILE, DIDN'T IT?

>> IT--HONESTLY, I MADE IT AS A FLUKE.

I DROVE BY IT AND I SAID, "GEE, THAT'S FUNNY."

THE GUY WAS SQUIRTING WATER ON IT.

SEE THE HOSE?

AND I CAME BACK AND BY THE TIME WE CAME BACK, HE WAS BRUSHING, AND HE DIDN'T KNOW I WAS THERE, AND HE STARTED--I STARTED LAUGHING.

I COULDN'T HOLD THE CAMERA, AND HE SAID, "WHAT ARE YOU LAUGHING AT?"

'CAUSE I WAS LAUGHING AT HIM.

I SAID, "COME DOWN HERE.

LOOK."

AND THEN HE SAW, AND I TOOK IT BACK AND [INDISTINCT] I SENT IT TO "LIFE."

MY BROTHER DIDN'T THINK IT WAS FUNNY.

HE SAID-- >> YOU SENT IT TO "LIFE" MAGAZINE?

>> YEAH.

I SAID--I KNEW IT'D MAKE THE MISCELLANY PAGE ANYWAY, I THOUGHT.

>> AND THEY PRINTED IT, AND YOU GOT RICH OFF THAT PHOTOGRAPH.

>> WELL, YES.

$200.

BUT THIS PICTURE WAS BOUGHT AND THEY PUT IT IN "THE BEST OF 'LIFE'" AND 4 OR 5 OTHER BOOKS, BUT IT WENT ALL OVER THE WORLD.

I FOUND OUT THEY WERE--I GOT MAGAZINES FROM POLAND, CZECHOSLOVAKIA--'CAUSE "LIFE," YOU KNOW, WAS VERY BIG OVER THERE AND THEY WANTED IT.

THE LAST ONE I SENT IT TO WAS JAPAN.

>> HOW MANY PHOTOGRAPHS DO YOU FIGURE YOU'VE TAKEN IN YOUR CAREER?

HOW MANY THOUSANDS?

OR TENS OF THOUSANDS?

>> MAYBE--MAYBE 20,000.

>> 20,000.

>> YEAH.

>> THEY HAVEN'T ALL BEEN WINNERS LIKE THIS ONE.

>> NO, NO.

I MISSED A LOT, TOO.

>> BUT THEY'VE BEEN PICTURES, PHOTOGRAPHS, OF LIFE IN LOS ANGELES, THE GOOD, THE BAD, THE UGLY, THE FUNNY, THE SAD, THE TRAGIC.

>> YEAH, THAT'S THE SAD PART, THE TRAGIC.

YOU, UH, THE FIRST TRAGIC ONE I PHOTOGRAPHED WAS 2 LITTLE KIDS WERE MISSING.

THEY COULDN'T FIND 'EM, AND THEY FOUND 'EM--ON A HOT DAY, THEY GOT IN A REFRIGERATOR AND CLOSED THE DOOR AND, OF COURSE, THERE WASN'T ANYBODY NEAR, AND THEY HAD NO HANDLE ON THE INSIDE, SO, I'M MAKING THE PICTURE, AND ALL THE PEOPLE WERE YELLING AT ME BECAUSE THESE--THESE WERE THEIR NEIGHBORS, YOU KNOW?

AND I SAID, "SHUT UP!"

AND THE SHERIFF GRABBED MY ARM AND PULLED ME BACK.

I SAID, "LISTEN, I'M MAKING A PICTURE THAT WILL APPEAR AND MAKE EVERYBODY TAKE THE HANDLES OFF THEIR DOORS.

SO THEY DON'T HAPPEN--THIS HAPPEN AGAIN."

AND THEN, I HAD TO MAKE A PICTURE OF THE 2 LITTLE KIDS.

THAT'S--WE ALWAYS DID THAT.

>> YOU HAVE TO BE A DIPLOMAT, DON'T YOU?

'CAUSE YOU'RE INTERACTING WITH PEOPLE WHEN THEY'RE HAVING GOOD TIMES AND BAD.

>> YEAH, THERE'S--MOVIE STARS DON'T LIKE YOU, THEN THERE'S KIDS THAT LOVE YOU.

>> YOU WERE EARLY PAPARAZZI.

>> YEAH, KIND OF A DIRTY WORD.

HA HA!

I KNOW WHAT IT MEANS, BUT THEY SURE DID THE--THEY SURE DID GIVE US A NAME.

>> WELL, I TELL YOU WHAT, IT'S SURE BEEN NICE VISITING WITH YOU.

YOU LET ME HOLD THIS A MINUTE AGO.

THIS IS AMAZING.

THIS IS A HEAVY, HEAVY CAMERA.

>> WE HAD A HEAVY CASE, TOO.

YOU HAD 12 HOLDERS AND BULBS.

YOU KNOW, YOU DIDN'T--YOU COULDN'T RUN OUT.

>> COMPARED TO THIS?

>> OH, LET'S SEE.

LET'S COMPARE IT.

HERE, LOOK AT THAT LITTLE BABY.

HA HA!

I'D RATHER SHOOT THIS THAN THAT, I'LL TELL YOU.

I DON'T LIKE--I DON'T EVEN HAVE ONE OF THOSE.

>> DO YOU STILL USE THIS?

>> NO, I GAVE IT TO MY SON.

HE--HE KEEPS IT OUT THERE.

>> YEAH.

BUT YOU COULD.

>> DAMN RIGHT.

I MEAN IT.

HE MADE A PICTURE OF MY 60th BIRTHDAY, AND I WAS SURPRISED THAT IT WORKED AND IT WORKED.

IF I HAD FILM IN IT, IT'D WORK RIGHT NOW.

I JUST SHOT YOUR--WELL, I DIDN'T TAKE YOUR PICTURE-- >> OH, YOU JUST--THAT WAS JUST TO FLASH THE BULB.

THAT'S NOT REALLY A PICTURE.

I WAS LOOKING FORWARD TO-- >> NO ONE CAN DEVELOP THE 4x5 FILM ANYMORE.

WHO CAN?

HA HA.

I DON'T KNOW WHETHER THE STUDIOS STILL USE IT OR NOT, BUT THAT--YOU WALKED ON ANY SCENE THAT THE PRESS WERE THERE WITH A CAMERA, BUT THE POLICE RECOGNIZED US.

WE DIDN'T HAVE BADGES THEN.

THAT WAS THE THING THAT GAVE US-- >> THE CAMERA ITSELF.

>> BECAUSE NOBODY ELSE HAD ONE.

THEY DIDN'T KNOW HOW TO WORK IT AND THEY HAD NO PLACE TO PROCESS IT.

>> WELL, YOU'RE PART OF HOLLYWOOD AND LOS ANGELES HISTORY, BUT OUR ADVENTURE HAS JUST STARTED BECAUSE WE'VE GOT SOME MORE PRESS PHOTOGRAPHERS TO TALK WITH RIGHT NOW.

PRESIDENT KENNEDY AT THE BEACH IN SANTA MONICA, AND HERE TO TELL US ABOUT IT, INTRODUCE YOURSELF TO EVERYBODY, SIR.

>> OH, BILL BEEBE.

I WORKED WITH THE "L.A. TIMES" AT THE TIME AND, UH, I HAD A--I WAS ONE OF 3 PHOTOGRAPHERS WHO HAD BEEN ASSIGNED TO COVER THE PRESIDENT.

I WAS SORT OF STUCK AT THE FRONT DOOR IN CASE MARILYN SHOWED UP, BUT, UH, OF COURSE, SHE DIDN'T, AND, UH-- >> NOT IN THE FRONT DOOR, AT LEAST.

>> NO, NO.

AND WE HAD ONE NEXT DOOR ON A BALCONY OVERLOOKING THE BACKYARD OF LAWFORD'S HOME, AND, UH-- >> SO, HE STAYED AT PETER LAWFORD'S HOUSE.

>> YES, IT'S PETER LAWFORD'S HOUSE.

>> RIGHT.

>> ON THE BEACH.

>> RIGHT.

>> THERE WAS A VACANT LOT NEXT TO THE LAWFORDS HOME AT THE TIME AND I KNEW ALL THE LIFEGUARDS AND MOST OF THE COPS AND SO FORTH THAT WERE THERE, AND THEY'D PROMISED TO GIVE ME A "HI" SIGN IF HE WENT OUT THE BACK GATE.

AND, UH, SURE ENOUGH, HE WENT OUT.

OF COURSE, BY THE TIME I GOT OUT THERE, HE WAS ALREADY IN THE WATER AND, UH, HE COULD SWIM LIKE A FISH.

THIS GUY HAD--REALLY A STRONG SWIMMER.

AND HE SWAM OUT RIGHT NEAR THE LIFEGUARD BOAT, PATROL BOAT.

IT WOULD HAVE BEEN FEDERAL AGENTS AND SO FORTH, THE COPS ONBOARD.

AND HE SWAM UP THE BEACH ABOUT 100 YARDS AND TURNED AROUND AND SWAM BACK, AND WHILE HE WAS DOING THIS, THE WORD HAD SPREAD UP AND DOWN THE BEACH THAT THE PRESIDENT WAS IN THE WATER.

WELL-- >> AND THAT'S WHERE ALL THE WOMEN CAME FROM.

>> YEAH, OH, BOY, DID THEY.

SO, UH, AS HE STARTED TO COME OUT, WHY, I--THEY ALL WENT RUSHING IN AFTER HIM AND I THOUGHT, "THAT'S THE ONLY WAY TO GET IT" AND I TOOK MY SHOES--MY SLIPPERS OFF AND HANDED THEM TO ANOTHER REPORTER AT ANOTHER PAPER AND, UM, I WENT IN, CLOTHES AND ALL.

AND, OF COURSE, IN THOSE DAYS, WE WORE A COAT AND A JACKET, A TIE AND SLACKS-- >> SO, THIS WAS ACTUALLY MADE IN THE WATER.

YOU WERE STANDING IN THE WATER.

>> YEAH, I WADED OUT IN THE WATER.

YEAH, WITH HIM.

>> AND DO YOU REMEMBER THAT MOMENT LIKE IT WAS FROZEN IN TIME?

>> LIKE IT WAS YESTERDAY.

>> REALLY.

>> MM-HMM.

>> WAS--YOU THINK HE WAS A LITTLE EMBARRASSED BY ALL OF THIS?

'CAUSE HE THOUGHT HE WAS GONNA BE SWIMMING ALONE OUT THERE.

>> NO, I DON'T THINK KENNEDY HAD VERY FEW MOMENTS OF EMBARRASSMENT.

HE, UH, HE WAS A FRIEND OF THE PEOPLE, AND, UH, I THINK HE USED THIS TO WHAT ADVANTAGE?

I DON'T REALLY KNOW.

I'M JUST GUESSING, BUT WITHIN AN HOUR AFTER THAT PICTURE WAS TAKEN, HIS, UM, PR PERSON SLIPS MY MIND AT THE MOMENT WHO WAS IT, HE CALLED THE "TIMES" AND ASKED THEM TO KILL THE PICTURE.

I DON'T KNOW WHAT THE "TIMES" SAID, BUT THEY DIDN'T.

>> DID YOU HAVE ANY IDEA WHEN YOU TOOK THIS PHOTOGRAPH THAT IT WAS GONNA BECOME THIS FAMOUS AND THIS WELL KNOWN?

BECAUSE THIS IS ONE OF THE GREAT KENNEDY PICTURES FROM LOS ANGELES?

>> WELL, I KNEW I HAD A GOOD PICTURE, BUT YOU DON'T REALLY KNOW WHAT IT IS UNTIL YOU SEE IT, AND, UM, THEY NOMINATED ME FOR A PULITZER PRIZE WITH IT, BUT I DIDN'T WIN IT, BUT IT'S IN "THE BEST 50 YEARS OF 'LIFE,'" AND "TIME" AND LORD KNOWS HOW MANY PUBLICATIONS.

SO, UH, BUT-- >> AND OUT OF ALL THE PHOTOGRAPHS YOU'VE TAKEN IN YOUR LIFE, WHICH HAVE TO BE, AGAIN, THOUSANDS OF PHOTOGRAPHS, THIS IS ONE THAT PROBABLY WAS LEAST EXPECTED AND MOST WIDELY DISTRIBUTED.

>> YES, THAT'S WITHOUT QUESTION.

>> SO, YOU NEVER KNOW.

>> NO, THAT'S TRUE, BUT WHEN YOU SEE THE ACTUAL PRINT OR IN THE PAPER, YOU RECOGNIZE RIGHT AWAY THAT IT WILL PROBABLY BE--GO DOWN IN HISTORY SOMEWHERE OR SOME PRIZE.

IT, UH, IT MEANT A LOT TO ME AND, UH-- >> WELL, CONGRATULATIONS, SIR.

>> THANK YOU.

>> YOU'RE NOT HAPPY WITH THE QUALITY OF THE PRINT, BUT IT'S, UH, IT SURE BRINGS BACK A LOT OF MEMORIES.

LIKE YOU SAY, YOU CAN REMEMBER IT... [SNAPS FINGERS] EXACTLY THAT MOMENT.

>> VERY MOMENT, SO.

>> ANOTHER PHOTOGRAPH OF ANOTHER KENNEDY, ROBERT KENNEDY, HERE IN LOS ANGELES.

PROBABLY THE MOST FAMOUS PHOTOGRAPH EVER TAKEN OF ROBERT KENNEDY AND ONE OF THE WORST SITUATIONS.

I MEAN, THIS WAS--THIS SAID IT ALL RIGHT HERE AND YOU WERE THERE TO TAKE THIS PHOTOGRAPH.

YOUR NAME, SIR, IS?

>> BORIS YARO.

>> TELL US THIS STORY, BECAUSE THIS MUST BE AMAZING.

>> YEAH, I HAD GOTTEN OFF WORK AT THE "TIMES," HAD--WENT HOME, HAD AN UPSET STOMACH, TOOK SOME PEPTO BISMOL, WATCHED SOME TELEVISION, AND SEE THAT HE'S WINNING THE PRIMARY.

SO, I DECIDED TO GO GET A PICTURE FOR ME.

NOW, AS YOU LOOK AROUND ALL THE PICTURES HERE, A LOT OF THEM MADE IN THIS ERA, THEY WERE USING FLASH, AND I WANTED A NATURAL LIGHT PICTURE.

SO, I WENT INTO THE AMBASSADOR WITH A CAMERA BUT NO FLASH, AND, IN THE PROCESS, IN THE AMBASSADOR BALLROOM, UP OUT FRONT, I MADE A COUPLE OF PICTURES OUT THERE.

I WENT BACK TO THE KITCHEN AREA BECAUSE THAT'S THE WAY HE CAME IN, AND WAS SITTING WITH A FRIEND OF MINE, DICK DREW, WHO NOW WORKS FOR AP NEW YORK.

AND I PUT MY CAMERA UP TO MY EYE AND DICK SAYS, "HEY, BORIS, YOU MISSED THEM."

SURE ENOUGH, HE'D GONE THAT WAY.

SO, I JUMPED OFF AND I'M GOING LIKE THIS OFF TO THE RIGHT.

KENNEDY'S GOING LIKE SO TO THE--TO THE LEFT, AND I'M STARTING TO BRING MY CAMERA UP, AND... [CLAPPING] SHOTS STARTED.

[INDISTINCT] OF THE CROWD PARTS LIKE, UH, THE RED SEA, I GUESS, AND THERE'S NOTHING BETWEEN KENNEDY AND SIRHAN EXCEPT SIRHAN'S GUN.

AND HE FINISHED HIM OFF.

RAN OUT OF BULLETS, AND THE MAITRE d' AND A COUPLE OF OTHER PEOPLE JUMPED SIRHAN.

>> COULD YOU BELIEVE THAT YOU WERE WITNESSING SOMETHING LIKE THIS?

>> NO, BECAUSE THE FIRST THOUGHT THAT WENT THROUGH MY MIND WAS, "MY GOD, NOT AGAIN."

>> AND WHAT MADE YOU BRING OUT YOUR CAMERA AND TAKE THIS PHOTOGRAPH?

>> I HAD IT ON.

I HAD THE CAMERA DRAPED AROUND MY NECK.

I WAS THERE TO MAKE HIS PICTURE.

NOT LIKE THAT.

>> RIGHT.

>> AND, UH-- >> SO, YOUR--YOUR INSTINCTS SAID TO PHOTOGRAPH THIS.

>> TAKE IT IN, YEAH.

I DID.

I GET--IN THE PROCESS, I MADE ABOUT 3 FRAMES HERE AND SOME LADY GRABBED AHOLD OF MY COAT SLEEVE AND SAID, "DON'T TAKE PICTURES.

I'M A PHOTOGRAPHER.

I'M NOT TAKING PICTURES."

AND I SAID, "GOD DAMN IT, LADY, THIS IS HISTORY" AND PULLED AWAY FROM HER.

AND BY THAT TIME, UH, HE WAS DOWN ON THE DECK AND THE BUSBOY WAS COMING OVER TO HIM, AND I MADE 3 OR 4 MORE FRAMES-- >> BECAUSE THIS IS SO POIGNANT BECAUSE OF THE BUSBOY AND THE WHOLE, THE WHOLE LOOK THERE.

UH, WERE YOU THINKING COMPOSITION?

WERE YOU THINKING HISTORY?

WERE YOU THINKING AT ALL?

>> THINKING, "DEAR GOD, LET ME GET A SOLID PICTURE IN FOCUS."

THIS--THIS IS SOFT.

IT'S A VERY SLOW SHUTTER SPEED.

>> DID YOU IMMEDIATELY SEND THIS OUT ON THE WIRE SERVICES?

>> WELL, FIRST, I HAD TO EXTRICATE MYSELF FROM THE MESS.

MY FIRST THOUGHT WAS, "GET OUT OF HERE BEFORE THE COPS SHOW UP AND TIE US UP," AND--YOU KNOW, FOR INTERVIEWS.

AND I RAN OUT OF THE AMBASSADOR AND THEN, "WAIT!

I GOTTA CALL THE OFFICE."

I FOUND A PAY PHONE RIGHT AT THE EXIT TO THE PARKING LOT.

OVER TO THE--YEAH, IN THE HOTEL FROM THE PARKING LOT.

AND I WENT OVER AND I CALLED THE CITY DESK AND TALKED TO BILL THOMAS, THE CITY EDITOR, AND I SAID, "KENNEDY'S BEEN SHOT."

HE SAYS, "WE KNOW."

HE SAYS, "WE HEARD HE GOT SHOT IN THE LEG" AND I SAID, "NO, I SAW BLOOD COMING OUT OF HIS EAR."

HE SAID, "GET IN HERE."

SO, I GOT IN MY CAR.

THE, UH, PARKED IN THE STREET.

ACTUALLY, RIGHT AT THE END OF THE AMBASSADOR, AND I DON'T REMEMBER A RED LIGHT BETWEEN THE AMBASSADOR AND THE "TIMES" BUILDING.

AND THEN, THEY TOOK IT FROM THERE.

>> AND THERE IT WAS.

DO YOU REMEMBER THAT MOMENT?

>> VERY MUCH SO.

>> YOU REMEMBER THE WAY YOU WERE FEELING OR DID YOUR PROFESSIONALISM TAKE OVER?

DO YOU REMEMBER-- >> I WENT INTO--I WENT INTO KICK GEAR BUT--UH, TO DO IT, BECAUSE, IT'S LIKE AN ACCIDENT OR A FIRE OR SOMETHING BLOWN UP IN FRONT OF YOU, YOU GOTTA DO WHAT YOU GOTTA DO.

UH, I DIDN'T THINK OF IT THAT WAY.

IT WAS "OH, MY GOD" AND DO IT.

GET IT DONE.

>> WOW.

AND HERE, ALL THESE YEARS LATER, THIS IS THE PICTURE THAT'S UP ON THE WALL, REPRESENTATIVE OF YOUR WORK.

>> WELL, IT'S THERE.

I WISH IT WASN'T.

I THINK HE'D HAVE MADE A GREAT PRESIDENT.

>> ANOTHER PHOTOGRAPH, ANOTHER TRAGEDY.

AND I REMEMBER THIS PICTURE FROM THE EARLY SEVENTIES, BECAUSE THIS WAS WIDELY DISTRIBUTED.

YOU TOOK THIS PHOTOGRAPH.

YOUR NAME, SIR, IS?

>> NICK UT.

>> OK, THIS WAS OBVIOUSLY MADE IN SOUTH VIETNAM AFTER SOME NAPALM--THIS IS ALL NAPALM BACK HERE.

>> THE NAPALM DROPPED A UNIT IN 1972.

>> DO YOU REMEMBER TAKING THIS PHOTOGRAPH?

>> YEAH, I REMEMBER THAT 39 YEAR AGO WHEN THERE EARLY MORNING AND I CALLED THE STORY FOR AP AND WE--TON OF MEDIA THERE.

ABC, NBC, EVERYONE THERE.

THEN, UH, WE SAW, YOU KNOW, LIKE NORTH VIETNAMESE AND SOUTH VIETNAMESE, HEAVY FIGHTING THAT MORNING.

AND I SHOT A LOT OF PICTURE.

WE DON'T KNOW THAT THEY DROP NAPALM.

I TRIED TO LEAVE IN THE VILLAGE AND ABOUT NOON, I SAW [INDISTINCT].

I LIFT MY CAMERA AND TOOK MY LONG LENS, I SAW 4 [INDISTINCT] COMING OUT THAT THE [INDISTINCT]-- >> NAPALM BOMBS.

>> ALL 4 [INDISTINCT] EXPLOSION AND I SAW PEOPLE RUNNING IN THE VILLAGE LIKE CHILDREN AFTER THAT.

AND A MOTHER CARRYING A LITTLE BABY.

HE DIED IN HER ARM.

AND I TOOK A PICTURE OF THAT, IT LOOKED LIKE BLACK SMOKE.

I SAW A GIRL OPEN HER ARMS LIKE THIS RUNNING.

I SAY-- >> THIS GIRL RIGHT HERE.

>> OH, SHE'S RUNNING.

AND SO, OH, MY GOD, WHY'S SHE WEARING NO CLOTHES?

AND I KEEP RUNNING.

IT TOOK A LOT OF CAMERA, I KEEP SHOT HER PICTURE.

THEN SHE PASSED MY CAMERA, I SAW HER SKIN ALREADY COME OFF.

I THINK SHE DIED.

THEN I-- >> SO, YOU HAVEN'T KEPT UP, YOU HAVEN'T TRIED TO FIND THIS YOUNG LADY?

>> YEAH, AFTER I TOOK HER PICTURE, I DON'T KNOW WHEN SHE DIED.

BUT I WANT TO HELP HER, AND LIE DOWN MY CAMERA ON HIGHWAY ONE AND I PUT THE WATER ON HER BODY.

THEN, THAT WHY I PICK HER UP AND [INDISTINCT] WANT TO SAVE HER LIFE.

MM-HMM.

>> DO YOU REMEMBER THIS MOMENT AGAIN?

IS THIS ONE OF THESE MOMENTS THAT'S FROZEN IN TIME?

>> YEAH, REMEMBER EVER HAPPEN THAT DAY, YOU KNOW, THAT UNIT.

[INDISTINCT] ALMOST LIKE 12:00 AFTERNOON SAIGON TIME, AND-- >> BUT YOU REMEMBER THIS MOMENT WITH THESE--BECAUSE I CAN ALMOST HEAR THE SOUNDS, TOO.

IT MUST HAVE BEEN LOTS OF SCREAMING, LOTS OF NOISE FROM THE BOMBS.

>> EVERY TIME I LOOK AT THE PICTURE, I REMEMBER, YOU KNOW, ALMOST 40 YEAR NOW, I HEAR, LIKE, SCREAMING, SOUND, AIR CRY, EVERYTHING.

KEEP REMEMBER.

>> WELL, THIS PHOTOGRAPH AS MUCH AS ANY PHOTOGRAPH THAT WAS EVER MADE DURING THE WAR SHOWS THE HORROR OF WAR.

>> ANY WAR.

IT'S A PICTURE IRAQ I UNDERSTAND TODAY, IT'S LIKE THE WAR IN VIETNAM.

IF YOU SHOWED THE PICTURE.

MM-HMM.

>> THIS PICTURE RIGHT HERE.

>> THIS PICTURE [INDISTINCT].

>> DID YOU KNOW THAT YOU WERE GOING TO WIN AN AWARD WITH THIS PICTURE OR DID YOU EVEN THINK OF THAT SORT OF THING?

>> AFTER I TOOK THE PICTURE, THE AP TELL ME SO RIGHT AWAY.

SAID, "NICKY, YOU WILL WIN PULITZER PRIZE WITH THIS PICTURE."

THEY TOLD ME RIGHT AWAY.

THEY SAID, "THIS PICTURE WILL WIN, THE PHOTO."

MM-HMM.

>> WOW.

BECAUSE IT SAYS IT.

IT'S A VERY POWERFUL-- >> PHOTO.

POWERFUL PICTURE.

>> IN A WAY, YOU MUST BE VERY PROUD OF THIS PHOTOGRAPH, EVEN THOUGH IT'S ONE OF TRAGEDY.

YOU KNOW THAT THIS PHOTOGRAPH HAS AFFECTED MILLIONS OF PEOPLE OVER THE YEARS.

>> THAT'S TRUE.

THAT--YOU KNOW, WHEN IT'S [INDISTINCT], I REALLY WANT TO HELP THIS GIRL.

I HELP HER FAMILY RIGHT AWAY.

IF I LEAVE HER THERE, SHE WILL DIE.

YOU KNOW?

EVEN MY JOB AS A PHOTOGRAPHER, I DON'T WANT TO HURRY TO GET OUT MY PICTURES RIGHT AWAY.

I WANT TO HELP THE GIRL.

>> SO, YOU PHOTOGRAPHED HER AND THEN SHE-- >> BRING HER HELP, SEE HER LIE THERE.

>> THEN SHE FELL DOWN.

>> YEAH.

THEN I PICK HER UP AND TAKE HER TO MY CAR TO SMALL LOCAL HOSPITAL.

>> DID YOU TAKE HER TO THE HOSPITAL?

>> YEAH.

AND I TAKE HER [INDISTINCT] HOSPITAL BEFORE I GO BACK TO AP OUTFIT DO ALL MY FILM.

>> SO, YOU DID GET INVOLVED IN A PERSONAL WAY.

>> THAT WHY SHE ALWAYS CALL ME TODAY IS TO KEEP GOING, "THANK YOU.

NICK UT SAVED MY LIFE."

>> SO, SHE IS STILL ALIVE.

>> SHE STILL ALIVE.

SHE LIVE IN TORONTO, CANADA.

I TALKED TO HER LAST WEEK.

AND-- >> SHE'S LIVING IN TORONTO?

>> TORONTO, CANADA.

>> HER NAME IS?

>> KIM PHUC.

>> THIS, IN A WAY, IS A POWERFUL PHOTOGRAPH AS WELL, TO SEE THE 2 OF YOU REUNITED AGAIN AFTER THIS SO MANY YEARS AGO.

>> YEAH, THANK YOU SO MUCH.

>> THIS PART OF THE EXHIBIT IS CALLED "PRESIDENTS AND POLITICS" AND THERE'S NO BETTER PRESS PHOTOGRAPHER THAN--DAVID, INTRODUCE YOURSELF TO EVERYBODY.

>> DAVID KENNERLY.

I'M A PHOTOGRAPHER.

>> YOU KNOW YOUR PRESIDENTS.

YOU'VE BEEN PHOTOGRAPHING PRESIDENTS SINCE... >> ABRAHAM LINCOLN.

>> NO, REALLY.

WHEN DID YOU START?

>> UH, RICHARD NIXON.

>> OK, SO, EVERY PRESIDENT FROM NIXON FORWARD, INCLUDING OBAMA, YOU HAVE PHOTOGRAPHED.

>> THAT'S CORRECT.

>> YOU HAVE--YOU ASKED ME A QUESTION BEFORE THE CAMERA CAME ON ABOUT WHO WAS THE FIRST PRESIDENT PHOTOGRAPHED, AND I SAID IT HAD TO BE A LITTLE BEFORE LINCOLN, BUT I DIDN'T KNOW FOR SURE AND YOUR ANSWER WAS... >> JOHN QUINCY ADAMS.

>> THAT IS AMAZING.

SO, NOT WHEN HE WAS PRESIDENT, BUT ALMOST RIGHT BEFORE HE DIED, THERE WAS A PHOTOGRAPH TAKEN OF JOHN QUINCY ADAMS.

>> IN 1838, AND THERE ARE ONLY 5 PRESIDENTS WHO WERE NEVER PHOTOGRAPHED, WHICH IS REALLY STUNNING TO ME.

I DON'T THINK ANYBODY REALLY THINKS OF IT THAT WAY.

>> THEY WEREN'T PHOTOGRAPHED WHEN THEY WERE PRESIDENT, BUT THEY WERE PHOTOGRAPHED BEFORE THEY DIED, AND ONLY 5 WERE NEVER PHOTOGRAPHED.

>> CORRECT.

>> WOW, LET'S TALK ABOUT MORE RECENT HISTORY BECAUSE YOU WERE THE OFFICIAL PHOTOGRAPHER FOR PRESIDENT FORD AND HIS FAMILY, WEREN'T YOU?

>> THAT'S RIGHT.

AFTER NIXON RESIGNED, UH, PRESIDENT FORD ASKED ME TO BE THE WHITE HOUSE PHOTOGRAPHER.

>> AND THAT MUST HAVE GIVEN YOU INCREDIBLE STORIES AND MEMORIES TO SPEND THOSE YEARS THAT CLOSE WITH THE FORD FAMILY.

>> NONE OF WHICH I CAN TELL.

>> I UNDERSTAND THAT.

I'M NOT GONNA ASK ABOUT THAT.

I UNDERSTAND THAT.

IT'S--IT IS BECAUSE YOU WERE PHOTOGRAPHING EVEN THE MOST PRIVATE OF MOMENTS.

YOU WERE GIVEN TOTAL ACCESS TO THE FAMILY.

>> I THINK YOU COULD SAFELY SAY THAT, UH, GERALD FORD HAD A SCANDAL-FREE ADMINISTRATION, BUT I WAS IN EVERY TOP SECRET MEETING.

I WAS GIVEN FULL ACCESS.

UPSTAIRS, DOWNSTAIRS, AT THE WHITE HOUSE.

IT WAS THE EQUIVALENT OF BEING, UH, FOX IN THE CHICKEN COOP FOR A PHOTOGRAPHER.

IT WAS FABULOUS.

>> HAVE YOU REMAINED FRIENDS WITH THE FORD FAMILY?

WITH MRS. FORD?

WITH THE CHILDREN?

>> YES, I'VE BEEN, UH, STILL VERY FRIENDLY AND, UM, WHEN PRESIDENT FORD PASSED ON, UH, THE FAMILY HAD ASKED ME TO BE THE OFFICIAL PHOTOGRAPHER FOR THE FUNERAL, WHICH IS A VERY SAD, UH, OCCASION.

>> VERY FITTING THAT YOU BE THE OFFICIAL PHOTOGRAPHER.

>> IT WAS AND IT WAS, UH, A REAL CELEBRATION OF A GREAT LIFE, AND I THINK, FOR THAT, I WAS GLAD TO BE THERE.

>> YOU HAVE SO MANY PHOTOGRAPHS HERE OF ALL OF THE PRESIDENTS, AND YET, THIS ONE STANDS OUT.

THIS WAS LITERALLY AS PRESIDENT NIXON WAS LEAVING THE WHITE HOUSE AFTER HE HAD RESIGNED THE PRESIDENCY.

>> UH, AUGUST 9, 1974 WAS PROBABLY THE DARKEST DAY IN PRESIDENTIAL HISTORY.

IT'S THE FIRST TIME A PRESIDENT'S EVER RESIGNED AND, UM, AND I WAS THERE ON THE PHOTO STAND WITH ALL THE OTHER PHOTOGRAPHERS TAKING THE PICTURES, BUT, UH, THE ONE THING I KNEW FOR SURE WAS, I WAS SEEING, UH, AN EXTRAORDINARY MOMENT IN AMERICAN HISTORY.

>> DO YOU--I'VE ASKED EVERYONE ELSE--DO YOU REMEMBER THAT EXACT MOMENT AS HE WAS MAKING THAT FINAL GESTURE, SALUTE, AS HE WAS GETTING ONBOARD THE HELICOPTER?

>> WELL, I--I WAS SO FIXATED ON NOT MISSING ANYTHING.

I JUST KEPT SHOOTING AND SHOOTING.

IT WAS REALLY ONLY LATER WHEN I SAW THE FILM OF HIM LEAVING, HOW QUICK THAT WAVE WAS.

IT WAS JUST A FLASH OF A SECOND, AND, UH, THAT'S WHY YOU DON'T SEE MANY PICTURES OF IT BECAUSE, QUITE FRANKLY, EVERY--ALMOST EVERYBODY MISSED THAT PICTURE.

>> WAS IT ALMOST BY CHANCE?

I HATE TO SAY THIS, BUT, THAT YOU GOT THIS?

JUST BECAUSE YOU WERE SNAPPING EVERY MOMENT?

>> IT WAS PURE SKILL.

[LAUGHING] NO, I'M PRETTY LUCKY, BUT, UH, YOU HAVE TO BE THERE AND YOU HAVE TO UNDERSTAND WHAT'S GOING ON AND, IN THIS CASE, UH, I THINK I WAS LUCKY.

IT WAS THE SAME WHEN, UH, ROBERT KENNEDY HERE, AT THE AMBASSADOR HOTEL, GAVE THAT "V" SIGN.

IF YOU SEE THE FILM LATER, AS I SAW THE FILM LATER ON, HE WENT LIKE THAT.

IT WAS THAT FAST, AND THEN, HE WENT INTO THE ROOM WHERE I DIDN'T FOLLOW, WHERE YOU TALKED TO BORIS YARO WHO WAS IN THERE AFTER HE GOT SHOT.

>> YOU KNOW, THESE PHOTOGRAPHS THAT WE'VE SEEN TODAY--AND WE'VE JUST SEEN THE--JUST A FEW, 3 OR 4 OR 5 PHOTOGRAPHS TODAY--THERE ARE THOUSANDS, TENS OF THOUSANDS, HUNDREDS OF THOUSANDS OF PHOTOGRAPHS HAVE BEEN TAKEN BY PRESS PHOTOGRAPHERS, PROFESSIONALS, OVER THE YEARS, AND THEY CONTINUE TO BE TAKEN.

THIS IS STILL A VERY HONORABLE AND NECESSARY PROFESSION, ISN'T IT?

>> I THINK SO.

UH, WE'RE THE EYES OF HUMANITY.

WE'RE THE ONES WHO GET TO GO WHERE OTHER PEOPLE CAN'T AND WE BRING BACK THE PICTURES THAT YOU REALLY NEED TO SEE.

THE GOOD NEWS, THE BAD NEWS, UH, UNFORTUNATELY, YOU'VE SEEN SOME OF THE BAD NEWS HERE, BUT THAT'S HISTORY.

>> YEAH.

WELL, WE STARTED THIS BY ME PULLING OUT--I GUESS IT WAS YOURS--PULL THAT THING OUT, YOUR iPHONE.

AN iPHONE.

DO YOU USE THIS NOW AS A PROFESSIONAL PHOTOGRAPHER?

>> I DO.

UH, I WOULD NOT GO ON A BIG PAYING JOB WITH THIS.

BUT, UH, QUITE FRANKLY--AND I'M GOING TO PUT THIS ON MY FACEBOOK PAGE--OH, WAIT.

>> EVERYBODY'S ON FACEBOOK.

>> AND YOU KNOW MY YOUNGEST SON IS A TRUE FAN OF YOURS, SO HE'S, UH, I'M GONNA SEND THIS TO HIM.

>> BUT MY POINT BEING, EVERYBODY IS TAKING PHOTOGRAPHS TODAY, BUT IT'S STILL IMPORTANT THAT YOUR PROFESSION, THE PRESS PHOTOGRAPHERS ASSOCIATION, REMAIN AS IMPORTANT AS IT'S ALWAYS BEEN IN TAKING THE PICTURES THAT TAKE PHOTOGRAPHY ONE STEP BEYOND WHAT WE CAN ALL TAKE WITH OUR iPHONES.

>> I AGREE AND I THINK IT'S NOT A DYING PROFESSION.

THERE WERE YOUNG PEOPLE HERE TODAY, STUDENTS, WHO WANT TO BE PHOTOGRAPHERS.

IT'S ABOUT WHAT YOU SEE FROM BEHIND THE CAMERA.

THERE ARE CAMERA USERS AND THERE ARE PHOTOGRAPHERS.

YOU'VE SEEN THE BEST OF PHOTOGRAPHY TODAY.

>> WELL, THANK YOU VERY MUCH FOR INVITING ME HERE.

THIS HAS BEEN AN ABSOLUTELY AMAZING EXPERIENCE FOR US THIS MORNING.

THIS EXHIBIT ISN'T GONNA BE UP VERY LONG, SO, BY THE TIME THIS PROGRAM AIRS, IT MAY OR MAY NOT STILL EVEN BE UP.

BUT THE IMPORTANT THING IS FOR PEOPLE TO START NOTICING THESE PHOTOGRAPHS TAKEN BY PROFESSIONALS AND APPRECIATING THE HARD WORK AND THE PROFESSIONALISM AND THE GOOD EYE THAT GOES INTO SHARING, TAKING AND SHARING THESE PHOTOGRAPHS, THESE MOMENTS OF HISTORY WITH ALL OF US.

>> HERE WE GO.

>> OK, WE'RE RECREATING HISTORY.

AS I WAS PREPARING TO LEAVE, I ASKED IF WE COULD POSE FOR A PHOTOGRAPH, AND ALL THESE GUYS, ALL THESE PROFESSIONALS, STARTED FLASHING WITH THEIR--LOOK AT THIS--THERE ARE FLASHES GOING OFF, AND I SAID, KIND OF HAPHAZARDLY, "LOOKS TO ME LIKE PAPARAZZI."

>> NO, NO, NO, NO!

>> DO NOT LIKE THE EXPRESSION "PAPARAZZI."

THESE ARE PROFESSIONAL PHOTOGRAPHERS CONTINUING TO DO THEIR JOB, RIGHT, FELLAS?

>> ABSOLUTELY.

>> THUMBS UP FOR THE PROFESSIONALS.

[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] [CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE, INC. --www.ncicap.org--] >> "VISITING WITH HUELL HOWSER" IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.