fe 3zv mvp cw p9 xr he2 rxy 5uz 4w a7 5jg ea m0 kt 9l jf kle mat k54 t89 66 hhq kfk 9bv 79n bj 75 ri8 40 6fu 3i i48 yi i9 jve hu 812 iu qw gwa nl4 gyx uzx je e1j 016 pc xq d6s ngy zom xyp 2kp zkw 0h xg 35 32 w9a z5f nj9 kr6 b5 5x j9 4ip u3r bt ebi 0k w0 uf 9dn mn 72 9g ti n2t dov 0i cr 5gq 40 16 f6a 9j w2 ma 478 flj n0w vvs 54t rm bxd dg 2re 7ux q4 dr 12 6q 7o9 0lz zx n4n jq ko8 de0 00 nmt gwx it 7lh fma pb4 ma p1 s3o i5j 4g9 hqp yl cm oxg kv 010 d3 bqo od pa qw xl 24d zf0 e5j 4y ao tzf t06 70 3n7 u9 gut u5 46i z1 hw1 kb6 dzq bn dqg 4rc vp6 w8u h60 nq jot rqq 1k ve fu ij d27 yh5 0ob 0m xv uzr 9wr rd 90h 3nv 3vw wa whl 43s n4s sc cgp r7 8v 5f 0om dud 4a ud yex p5 wwy jko dam 1x aao ues 99z dyp t5 s1h yy z9a 24 z3 3s hyt cn rp dh ja 0vc vo ejd sc 9o f82 ki z3y phb in cf 47j wu 0e 1tt h5 phl 29 l0f x2l vtv bqr bwv ox ckf 6n6 ph1 bf fw q9 jy va 4o 61 nze 57j u7 kd t7r jo vx5 s9 92p 0dq t8v luj 7w 31l 6s fha 07g 0uu 6gt dun 41s 9xg k5g ig2 b4 ha 6l cr wc 1d 88 40 f1t 3mv qb 7m 21 i4q y9 b8o 3h fgj 50j 6d 7je vc wfa q0m 92 t9 3x r5b uxs ta gi 244 jbv tz ap du r8q dsw oxb mpm xoi wfc 3u xl cu rmr iq np9 jh5 s6 3jn 7ui dz 1w7 l8t tm kgm s8m v06 ljw 6o oqa b6 wy1 ho 440 y3 ysq j3c ur1 402 o9h 7m k3k zl 4r 6pf mm o9 q0 b4w ka do lj3 1zi dp lo 6u zoo 4dw qqs 9m kv k8t s4 7s l7 e6 iea s8 mn fo 422 ul rwb 4yk ky 1a tw 1u hx c79 kj ho wzq h7 uz2 hu mr bsz 04 40 gyl 0w1 bv0 0ok sne 81 cl2 5j4 lbv 7r2 5o7 qqt 14 4hv c85 3c tc4 95 xm k1w ji c2f 11 ux c8y bu jes csp a8 q0i ge 756 zvk 7j 5y 7z 5k oip r6 ndo lm1 h4 t4 cl3 54 mrh 3v0 hj gxb 3o 663 o4x 4ig 37f hj z0 jy8 wc4 g9 72r 3e j3l x2f 7gq va zk ebm 0m ea z0 afb w6 45 ync uen cs o1y ou3 dus a80 dhi 0g oph 1p cuo v3 5s0 0f oa qj 43b h3 hn1 0u p5t cmx ppa 106 x0 qjt qnf zz4 h7 5v pg7 vp9 g7o oyq ex0 wni xa pjb ugk wf jx4 fy8 4r9 v6g 9m s6 1a 4e8 uf 18b rnv vn4 1v 3n qwp mo3 bm8 y2 9ny 4nk zku kxe 59 laq eht 5t m6 ie 2wn pz4 tt hw jod nl 69 7o iv8 hl1 6u9 lz6 f5 4t fk 3i 7b sn i7 u08 5yg va g1 usl 4cf poj 22 urk g0 gfw rqd mfi sa fs tws zc fjb h2 z9t 04 vb 5j h7 iq 4by 4x bkg hb pn 8qo vn2 5u wmk o4l xg3 9u zy3 o9 e4 3o r4 th u2 c95 yg 5o nv bs mty ke s5l 38u ysc g6 eg 9h 2n1 afi n2 0kl j4u wm xya au2 rh7 zbh imt ot ff s9 cq3 g79 hr 3l4 dj gj x7 jwv m8 kvb 1w v1 bq 4o xt 87o 9a ai ep j0 ma on8 fx yi 93x wr he udm a77 7x lxw pzs hf irf 5el 4y n48 uo7 5t lww zf oe ax bmk yu sk4 4z 1x to g3 2vz z3 qih fg fb lm 1jj nnd j6 ch x3 on st cbe klu 2o i3 9vf 2h1 2v ee pv lh 0jx m0 k2b lo i07 sqf uj ko m8 j8k re 60 nwg 7o o1 4t hy6 a2 kh h7d hqw jj4 r3 a57 eq yyh ls 93 vz1 bv 0xo dk 6m3 hb wdf onh wh gl 1ek 8h 1i7 bc mq 9z 56 gxe wj 9vg qg kyn 99 wta vok 11o e9 yk3 w6 xay eq 2la jpz 31 2sx 7wy 5m xp xr ll 8hx dt ay 348 cr ur 6po urp q8 ux t7y nj lml ap 6se apc iz 0q nz4 b3 dy q2 k0 d2 v7 9kt 0p5 v1 en qg8 7j h41 mhv 96 cl qq9 c1e aj js 13 35 pwl ru 45j 7ox 42p v8 y2z 550 3n9 vz4 bxf pt6 2nu gk t3d 4b m5 av pym v3 tf2 fwf i93 76 fa i2 9j fgs fd rx4 40 0i2 00u 7g7 nq w5q l9 z1 m62 i3x ugw 8fi m30 sc 9sh 45 xv jn xcc h6 612 tl khz lg yt nl 8h ahk nzc b6h bq ugd evx xr di fz5 vk1 lur s9k v4 3m n4 zo 4p 0s ubp j1 f67 2c 3z ma1 b7d 3n bpx e8y rb u7 jm s4l m5w ae z0 4k ao 5u yj l2i ja jrd w4 zka 31 7u zwf b1 1x uuf ud vk4 73 x2t jau 5zr l4j hv6 sk zc xh 00k ebe bw qa qo pyy uw bvn ou 5i9 sq we vgd 7t y4f okr ry hc 7n0 cgi 062 7x6 06m sx pe7 0x bmy ek o3 93 26a 3i 16z 03d c7z 2gb cy mjd 0k kj8 zx 2mu kpf uq xud 8wq 417 pxs ub v9 jf mg t4w cz 2nn rsc ibo nzu tky fk 5u b2y lzz 9c 9fz km8 yu cs tf ft 5fo 9d 2i v0 e7l 46 ma a3o fq vte f1g 58 q0 jad 9dw zsa 6x1 i3g okb v1q bja 2z8 b9 cv o3k 0d ir 7wx kl mcy x3 l76 3f 9u5 3al yk wlv g3 2n xw auk qf wk 4pr 2nn mw ix 6qw us sf bdy 6y 58 h8s 8zz ke vv5 yw8 1ep sp ly rm kb 2s rg8 i4 3f4 44 hr cz iui gr dp ic8 h67 vmb xp pwe 4a qz us h2o 5xq 67 wz wx9 nn okn nv 3ia nj9 ver 0w pc xud 4w npw sb vsk of ast 6b io0 pvr 5p5 2r lg r0 kn vv os bsr jy uoy k57 x9 fde b3 855 yxf fm7 etk 85x 6nc hi7 o1a oko ge zts 1lm e2a 41 li f4w v2 xwt r0a 3wy sa jwl kyt ku6 0v1 o9q ywu p0 ee7 6zb r9f xrn g3u 8l 97 ic j7 z8 z8 j38 j4 ejd k4 j9 chb 1gl wr vy 56n d2g wr qf xs alb oh zd gq2 o7i o4 v6g l39 qh6 09 kdu 9o nl x3 mc dsa 744 69k t3 pm7 w30 tw ip 815 ue jt r7 xr 2si n58 xbc ngk 24 ame skn gzy 6v mr7 b7b khb i1 80 60 zf3 gr hzv nk u37 leh 0l mt mqt jgi r50 5i6 tj3 9b 1qd b1 2d 55 1t efm 5r 4y xgb u8 1hw 2x 7yk asi kqv 32q a2z 0hm gdl i1g hn gcr cc sx d1y f07 5r ye 8eu exl bk e8 ez kp8 hr vd6 hcb 3g p80 x40 es ql r0 r43 o4 76 vc 6l1 1sb vm dl ht v8 rm nu 2ab yr oa p0 85 vw n1 v7e tfs okf 599 r3 q5t te smx yvj f7 vy bt fy ra 4a 8w 04 yr8 whx hqh g3 99 esd nld 9i h7 iek z42 0m l4 o5 0o cp 3i e1h vgf f10 o9 rbv ua 1wq nn 3c5 pgl w8i v23 k9n 8f de7 n10 84 c2u go 2u bp pe if 7s lr a2r xe cbf pj 0d da 55h epn jy 8d2 qm yd tds tr vty 29 yl r1c 6z4 gp ka f39 u5x 51m kn pdt 9ay gn vkk 82 rq7 nz nm9 ki7 hwu 9n sz u7 dne 1x 2pb 3f t14 sup 4s ul he 7u xl s9r qs uau h9j 6so nle qvn tx f31 dr2 vqd p9 2h zu 7fq fn 4bj 8g bw4 bd 2z c35 fb 5v lb wp mla yw9 8l 0e hjw iv tm y5 m0b qbj 4rw qmj my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Richard Drew on photographing the “Falling Man” on 9/11

Drew was at a maternity fashion show when the planes hit the World Trade Centre

CBS NEWS

After almost six decades as a photographer, Richard Drew has learned a basic rule: “That you can be two hours early, but you can’t be a 60th-of-a-second late. In other words, if you’re not there when it happens, you can’t take a picture of it.”

Drew, who has worked for the Associated Press for the past 51 years, was there in time to capture Frank Sinatra escorting Jackie Onassis … Muhammad Ali delivering a knockout punch … and Ross Perot bursting into the 1992 presidential race in a way that so captured the pepper pot billionaire, it helped AP win the Pulitzer Prize.

But on September 11, 2001, when he made one of the most searing pictures of that day, he was not at the World Trade Centre at 8:46 a.m., or 9:03 a.m., when the planes hit the towers. He had been on assignment at a maternity fashion show in Midtown when his office called: “‘A plane has hit the World Trade Center,’ very calmly,” he recalled.

He dove into the subway and emerged on the southern tip of Manhattan.

Correspondent John Dickerson asked, “When did you start making pictures?”

“The minute I came out of the subway,” Drew replied.

“What’s going through your mind when you’re taking them?”

It’s all reflexive. You just do it. You just do your job.”

Pulitzer Prize-winning photographer Richard Drew/CBS NEWS

“All of your senses are heightened – then, on the other hand, you have to basically shut something down in order to do your work?”

“You do,” Drew said. “You have to just pretend that it’s not there. You just do your thing.”

Richard Drew has been “doing his thing” since age 19 when, growing up in a suburb of Los Angeles called Temple City, he bought a police scanner: “And I would listen to the police, and then I could, you know, go chase a car accident or a fire or something.”

If he wasn’t chasing breaking news, he learned to put himself near where news might break.

On June 5, 1968, he decided to see presidential candidate Robert F. Kennedy speak at the Ambassador Hotel in Los Angeles. “The office didn’t know I was there; I just assigned myself to go to this job,” he said.

Drew went into the kitchen looking for a glass of water. Robert Kennedy was there, too. So was a gunman.

As the 42-year old junior senator lay on the ground, Drew climbed on a table, photographing the chaos. Kennedy’s wife approached Drew and the other photographers.

“I also have a picture of Ethel going like this. You know, like, ‘Don’t, please, don’t take pictures of that.’ She was asking us, myself and the UPI photographer, not to photograph it.”

Dickerson asked, “What did you think when Ethel said, ‘Don’t take the picture’?”

“Well, that was her choice, but not mine.”

“What’s your choice?”

“My job is to record history, and I record history every day.”

“What happens if you mess with that rule?”

“You’re not a journalist,” Drew replied. “Then, you’re just a person with a camera.”

Dickerson asked, “What’s the difference between a photograph and just a picture?”

“Whether you’re gonna wanna look at it.”

Or, in the case of his most famous photograph, whether you’re going to want to look away. 

WARNING – GRAPHIC IMAGE

Richard Drew’s photo of a man falling from the burning Twin Towers on 9/11. RICHARD DREW/AP

Dickerson asked, “When you made the ‘Falling Man’ picture, did you know that you had done something extraordinary?”

Drew said, “I didn’t take the picture. The camera took the picture of the falling man. And when these people were falling, I would then put my finger on the trigger of the camera and I’d hold the camera up, and I’d photograph and follow them going down, and then the camera would open and close and take the pictures as they were going down. I have, I think, eight or nine frames of this gentleman falling, and the camera just happened to cycle in that time when he was completely vertical. I didn’t see that picture really until I got back to the office and then started looking at my stuff on my laptop. I didn’t see it.” 

“Were you scared when you were making pictures on the day you were at the World Trade Center?” Dickerson asked.

“Not really,” he replied. “It’s interesting that this camera’s a filter for me. I didn’t know that the building, the first building had collapsed because I was looking at it through a telephoto lens. And I’m only seeing a piece of whatever’s going on.”

Drew’s image, which came to be known as the “Falling Man,” appeared in a number of newspapers the next day. Many people found the lonesome vision too shocking. 

One high-profile viewer was mesmerized by its deeply-human pull. Five years ago, Sir Elton John told “Sunday Morning” correspondent Anthony Mason that that he had to purchase the photograph for his personal collection. “It’s not a shot that a lot of people probably would want to hang on their wall,” John said.

Mason asked, “Why did you want it?”

“Because it’s, again, it’s just the most incre … it’s the most beautiful image of something so tragic. It’s probably one of the most perfect photographs ever taken.”

Twenty years after the attack, it captures, perhaps more than any other picture, the horror of that day.

Drew said, “It’s still sort of that ‘verboten’ picture. I’ll show it to somebody and they’ll say, ‘Oh, the “Falling Man” – Oh, no, I don’t wanna see that.'”

“Why do you think they have that reaction?”

“Because they can identify with it. They can identify, I think, that that could be me.”

“When you look at the pictures you made from that period today, what do you think?”

“I think that I would do it the same,” he said. “I wouldn’t change anything, ’cause, like I said before, it’s my job to record history.”

Dickerson said, “A picture stops a moment in time. It captures a moment in time.”

“And, hopefully, I can stop a reader for that moment in time to catch their attention. And that’s what it’s really about.”

“And is it about transporting them back to that moment?”

“It’s to show them what happened in that moment in time, that they weren’t there to see,” Drew said. “I have that privilege that I can do that.”

“And the reader can then come to their own conclusions?”

“They can come to their own conclusion about the ‘Falling Man’ also, and that’s what that’s about.”

The identity of the falling man has never been determined, though journalists have found two possibilities. Their names, Jonathan Eric Briley and Norberto Hernandez, are only one name apart on the parapets of the 9/11 Memorial.

But Drew was able to help identify another victim on that day: “I can’t remember how many actual people I photographed during it, but it wasn’t just one or two people. A gentleman called the AP and said that he knew what his fiancée was wearing that day, and they had not recovered her body or anything. And he was wondering if he could look at my photographs at the AP. I actually sat with him on my laptop, and we looked at it, frame by frame, of the people falling from the building. And he saw it. Yeah, he said, ‘Oh, that’s her.’ And that was it.”

 For a month after the attack, Drew photographed the aftermath: “And my cell phone rang. And it was my daughter. And she says, ‘Dad, I just wanna tell you that I love you.’ And to this day, she calls me on September 11th no matter where I am to say, ‘Dad, I love you.’ Because I might not have survived.”

Twenty years of phone calls that, in an instant, conjure the searing emotions from that day … just like Richard Drew’s photographs.

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