Photograph, Print
Photo credit: © Joe McNally
Accession Number: C.2013.644.1
Dimensions: 109 in X 44 in X 0.08 in
Dimensions (Metric): 276.86 cm X 111.76 cm X 0.2032 cm
Dimensions (Metric): 276.86 cm X 111.76 cm X 0.2032 cm
Source: Joseph McNally
Credit Line: Gift of Joe McNally in thanks for Johnson & Johnson's generous support of the "Faces of Ground Zero 10 Years Later" Exhibit, 2011. Courtesy, Ellen Price, Inc. © Joe McNally.
Omar Rivera, Senior Systems Designer, Port Authority of New York and New Jersey, and his Dog Salty
Description
Life-sized Polaroid photograph taken by Joe McNally depicting survivor Omar Rivera with his guide dog, Salty, by his side.
Life-sized Polaroid photograph taken by Joe McNally depicting survivor Omar Rivera with his guide dog, Salty, by his side.
Historical Notes
Omar Rivera, a senior systems designer for the Port Authority of New York and New Jersey, was at work on the 71st floor of the North Tower on September 11, 2001. His Labrador retriever, Salty, trained as a guide dog for the blind, was nearby. Experiencing the loud violent impact of hijacked Flight 11 crashing into their building, Rivera and Salty—accompanied by Donna Enright—a coworker, successfully made their way downstairs and out of the building before it collapsed.
At McNally’s studio, Rivera reflected, “Salty was nervous, but he was very concentrated on his duty. He and Donna were my angels that day. Many people saw what happened, but I heard it. The sounds of walls cracking, pipes popping, people screaming—it still echoes in my ears.”
Omar Rivera, a senior systems designer for the Port Authority of New York and New Jersey, was at work on the 71st floor of the North Tower on September 11, 2001. His Labrador retriever, Salty, trained as a guide dog for the blind, was nearby. Experiencing the loud violent impact of hijacked Flight 11 crashing into their building, Rivera and Salty—accompanied by Donna Enright—a coworker, successfully made their way downstairs and out of the building before it collapsed.
At McNally’s studio, Rivera reflected, “Salty was nervous, but he was very concentrated on his duty. He and Donna were my angels that day. Many people saw what happened, but I heard it. The sounds of walls cracking, pipes popping, people screaming—it still echoes in my ears.”
Curator's Comment
In the weeks after September 11, LIFE Magazine photographer Joe McNally (b. 1952) invited rescuers, recovery workers, survivors, and bereaved family members to a studio in Manhattan’s Bowery district, not far from Ground Zero. Here, the participants were memorialized by a unique Polaroid camera—dubbed the Moby C—equipped with a lens from a U-2 spy plane. This room-sized instrument could capture an exposure of singular clarity on an eight-foot tall piece of film in the blackened studio. Each 90-second session required meticulous staging and absolute stillness. Whereas most photographers were concentrating on documenting the devastation of the attacks downtown, McNally was interested in recording the heroism and sorrow etched into the human faces at the center of this national tragedy. Those who faced the camera were mostly everyday people who sought no special recognition. “They came only with the intention of participating in a project, telling their story, and sharing in the telling of others,” McNally reflected.
The 9/11 Memorial Museum has enjoyed a long relationship with McNally's images. In 2006, McNally donated his portrait of FDNY Ladder 20 firefighter Adrienne Walsh to support the Museum’s nascent permanent collection. When the outdoor Memorial opened to the public in 2011, a selection from the series was borrowed from the photographer and rotated onto view in the temporary Visitor Center at 90 West Street. Annual acquisitions from the Faces of Ground Zero archive have continued, often as gifts arranged by McNally. In 2017, the Museum assumed custody of the remaining Polaroids in an agreement that will result in the collection’s completed donation by 2027.
The image in this record is the product of a color transparency from a Mamiya RZ 6x7 Pro II 120 format camera that McNally positioned to record a shot simultaneous with the Polaroid Moby C’s flash of light. The unique, original Polaroid exhibits a more subtle and creamier tonality.
HIDE
In the weeks after September 11, LIFE Magazine photographer Joe McNally (b. 1952) invited rescuers, recovery workers, survivors, and bereaved family members to a studio in Manhattan’s Bowery district, not far from Ground Zero. Here, the participants were memorialized by a unique Polaroid camera—dubbed the Moby C—equipped with a lens from a U-2 spy plane. This room-sized instrument could capture an exposure of singular clarity on an eight-foot tall piece of film in the blackened studio. Each 90-second session required meticulous staging and absolute stillness. Whereas most photographers were concentrating on documenting the devastation of the attacks downtown, McNally was interested in recording the heroism and sorrow etched into the human faces at the center of this national tragedy. Those who faced the camera were mostly everyday people who sought no special recognition. “They came only with the intention of participating in a project, telling their story, and sharing in the telling of others,” McNally reflected.
The 9/11 Memorial Museum has enjoyed a long relationship with McNally's images. In 2006, McNally donated his portrait of FDNY Ladder 20 firefighter Adrienne Walsh to support the Museum’s nascent permanent collection. When the outdoor Memorial opened to the public in 2011, a selection from the series was borrowed from the photographer and rotated onto view in the temporary Visitor Center at 90 West Street. Annual acquisitions from the Faces of Ground Zero archive have continued, often as gifts arranged by McNally. In 2017, the Museum assumed custody of the remaining Polaroids in an agreement that will result in the collection’s completed donation by 2027.
The image in this record is the product of a color transparency from a Mamiya RZ 6x7 Pro II 120 format camera that McNally positioned to record a shot simultaneous with the Polaroid Moby C’s flash of light. The unique, original Polaroid exhibits a more subtle and creamier tonality.
HIDE
