The Pulitzer portfolio was comprised of photographs made mainly in Vietnam. The one signal picture was the guy, the lone GI coming over the blown-away hillside. And the Pulitzer Committee said that it captured the loneliness and desolation of war which I think it did. And one of the other really good pictures which also could have won—was a —but it was—it was actually judged as a year's work. It was the feature photography. So there were 8 pictures in the portfolio. And I think one of the other haunting photographs is a GI kind of with his shirt off, bent over a gun with a cross hanging down and it was taken on Easter. That picture also ended up on the front page of the New York Daily News which anytime that happened you were an instant hero at UPI, because UPI was in the Daily News building in New York
But that was '71 and—it was—everything was so new and vivid and dangerous, but I was out all the time with the troops. As a photographer, you can't write about it from the sidelines, you got to be out there taking pictures.
And I think my best pictures were always those taken on the periphery of combat. Because mainly I mean there was fighting—there was a lot of fighting. But generally the fighting—most of time there wasn't fighting. So I was always looking for photos that kind of reflected my experience in Vietnam.
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