ICGB   70-246  , 220-801   N10-006   70-461   VCP550   642-999   CISM   200-125  , CISM   70-177  , 200-120   300-320   1Z0-144   JK0-022   300-209   200-355   NSE4   1Y0-201   300-206  , 2V0-620   70-412   MB2-707   300-208  , 1Z0-060   PEGACPBA71V1   LX0-103   000-105   300-209   000-080   1Y0-201   642-732   70-177   70-410   74-678   101-400   MB2-707   MB5-705   500-260   1Z0-051   700-501   MB2-704   70-412  , 70-177   300-209   070-461   2V0-621D   3002   200-125  , CISM   70-410   810-403   220-901   300-115   350-018   000-104   1Z0-803   OG0-091   M70-101  , 200-355   74-678   70-461   210-065  , 2V0-621   200-125  , CAP  , CAS-002   200-310   N10-006   100-101   70-483   MB6-703  , CISSP   1z0-808   300-115   000-089  , 070-461   70-980   70-412   642-732   CAS-002   70-463   350-018   220-801   M70-101   CCA-500   70-461  , MB6-703   102-400   HP0-S42   102-400   74-678   640-911   210-260   SY0-401   350-080   70-243   70-980  ,

Episode 8, with guest David Hume Kennerly, Pulitzer Prize-winning legendary photojournalist

David Hume Kennerly is our interview guest this week.
Show produced by Katherine Caperton
Original Air Date: April 30, 2011 on SiriusXM Satellite Radio “POTUS” Channel 124.  Click above to listen

On our XM-Sirius broadcast, we obviously talk a lot about images.

Images are what give us a sense of place that go along with the words in a newspaper or the voiceover in a news report.  In print journalism, the practitioners call it “the art.”

Indeed, in our time starved world, we often don’t have more time than to glance at the top of the fold or flip though a magazine, and absorb for a second the meaning of the images to get the whole story.  It’s what gives us the overused adage: a picture is worth a thousand words.

If that’s true, and I think Adam and I believe it is, than the million or so images David Hume Kennerly has seen published since shooting for Roseburg, Oregon’s “The Orange R” in 1962 constitutes a billion words of content in an ever evolving story spanning nearly fifty years.

He took some of the last pictures of Bobby Kennedy before he was gunned down in 1968.  He shot the Amazing Mets when they won the world series in 1969.  In 1972, at the age of 24, David’s work won him the Pulitzer Prize for a portfolio taken of the Vietnam War, Cambodia and East Pakistani refugees near Calcutta.  And for good measure, the Pulitzer committee also honored him that year for iconic imagery of the Ali-Frazier fight at Madison Square Garden.

But as a body of work, Kennerly was just beginning.  He’s photographed every U.S. present since Richard Nixon and established through his unparalleled access the modern role of White House photographer to President Gerald Ford.

Few photographers have had as varied a career as Kennerly, and given the way technology and cost are changing the business of photojournalism, it’s likely that few photographers will equal the breadth and range of Kennerly’s work.

I got to know Kennerly in the 1990s when his assignments brought him back to Washington and points beyond to cover President Bill Clinton.  Truth was: I thought he was a pain in the ass.  I worked days, weeks even, to craft the composition of what I imagined for presidential events, and placing photographers exactly where I wanted them to create the angles I thought through was a key ingredient to success.

Kennerly made me a failure.  He knew the White House, and certainly his craft, a lot better than I did.  And a guy who walks into deadly combat armed with nothing more than three cameras around his neck is certainly not going to take flack from a Clinton aide telling him where to stand.

In the end, Kennerly’s success was my success, because a man who spends a lifetime looking through a lens to bring home the truth is a person who gives an inquiring public exactly what it wants, and needs.


1 comment to Episode 8, with guest David Hume Kennerly, Pulitzer Prize-winning legendary photojournalist

Leave a Reply