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“His picture is and will remain fantastic.”īesides his two children, Yaro is survived by his wife, Jill, and a brother. White Co., Cleveland, Ohio, marked on both the body, and neck with matching serial numbers 319698. “When you look at Boris’ picture of Kennedy from head to foot, with the kitchen worker leaning over him, that is a completely perfect composition with all the necessary elements,” Bartletti said. Pulitzer Prize-winning former Times photographer Don Bartletti said he thought two Pulizers should have been given that year. The photo, which is part of the permanent collections of the Getty Museum in Los Angeles and Museum of Modern Art in New York, did not win the Pulizer Prize, which went that year to an equally enduring shot of the execution of a Viet Cong prisoner in Saigon. “I pulled my coat sleeve loose from her grasp but lost some visual space because people began crowding around the fallen Kennedy.” “My response was, ‘Dammit, lady, this is history,’ ” Yaro wrote. Then a woman grabbed his sleeve and pleaded with him to stop. When he saw Kennedy sinking to the floor, he realized, “I had better make pictures.”
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“It was dark, and I think I was afraid,” he wrote. In his 2010 recollection of the night of the Kennedy assassination, Yaro said he did not take photos during the shooting. He always had one, maybe two maybe three cameras with him, film in every single pocket.”Īccording to his children, Yaro joined The Times in the mid-1960s as a part-time photographer in the paper’s San Gabriel Valley office. He never left home without some form of connected communication. Saxello soprano 3200 add 15 for gold plate.
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Yaro’s children, Michael Yaro and Nicole Good, said that dedication was part of their lives too. There are, of course, a very few Super 20 baritones, some with silver necks (add 15) and I have seen one with a silver bell. “They all knew him on a first-name basis.” “He knew everybody: every fireman, every policeman,” said colleague Joel Lugavere. Boris would respond to news stories all hours of the day and night.” “His company car sprouted numerous antennas for police radios. “It was like meeting a rock star,” said Rick Meyer, another longtime Times photographer, of his first meeting with Yaro in 1973, when Meyer was fresh out of journalism school. Daniel quoted Yaro as saying, “You can’t walk into a newsroom dressed as a damn bum.”īeneath Yaro’s sharp appearance was an intense commitment to his craft. In a 1996 book on the making of “Lou Grant,” author Douglass K.