PATERSON As the 20th anniversary of 9/11 is marked, the many photographic images that came from the worst terrorist attacks in the history of the United States will never be forgotten. They tell the visual story of that harrowing day documenting a moment in history that will be shared for generations to come.
Rich Gigli, a retired photographer, who often freelances for The Beacon and is a parishioner of St. Bonaventure Parish here, recalled that fateful Tuesday morning when he was serving as photo editor for the Bergen Record. Throughout the day, he was reviewing countless photos sent by the Record staff photographers for the newspaper’s next issue. Many of the photos showed the massive destruction of the towers, the pain and tears of the witnesses and the tragic loss of many lives.
“We were a staff of 12 and it was a huge effort on everyone’s part to tell the story of that day,” said Gigli, “Our staff produced some of the best work we have ever done. While the talent plays a big role because we went fully digital by the year 2000, we were able to receive these images in a timely manner.”
Even with the unforgettable images, Gigli still wondered, “Where is that one picture?” to put on the front page of the Sept. 12, 2001 issue. Near 8 p.m. Tuesday evening, it came — a photo by Thomas E. Franklin, which shows three firefighters standing on a pile of rubble and raising a dusty American flag. It is known as September 11th’s version of the Raising of the Flag on Iwo Jima by photographer Joe Rosenthal during World War II.
“When it came, that was the one I’ve been waiting for. It showed how they can tear down our buildings but they can’t tear down the American spirit,” said Gigli.
The days after 9/11 were a highlight for Gigli’s storied career in photography. At 11 years old, his passion for photography developed when one of his friends had a chemistry set to develop film. Gigli recalls, “It was like magic. At that point, I knew that this was my vocation. Soon after, I got my first camera.”
His career in photography started when he was 17 working for the former Paterson News as an intern or what he called a “darkroom junkie.” He sweep floors and loaded film to be developed. In 1957, he officially was called on to work full time for $1 an hour. Gigli calls that day one of the happiest days of his life.
One of his earliest jobs in 1957 was when he was sent to take a photo of an accused murder, Edgar Smith, who would be later convicted of killing a 15-year-old cheerleader. “This was in a time before all the technology. Before cell phones and GPS. I drove to this address just as he was being taken into custody. I was the only photographer there who grabbed his photo. My editor said, ‘kid, you’re pretty good,’” he told The Beacon.
Gigli’s career in photography eventually led him into a life-changing experience 20 years on the job. While on assignment in Passaic, he remembers an 18-year-old standing at the edge of one of Passaic’s tallest buildings. He sadly witnessed along with reporters, photographers, and first responders the young man jump to his death.
“That was a moment, where I asked myself what does all this mean,” Gigli said. It took many years later to find meaning in that moment and he wrote a reflection on that moment, which he titled a “Letter to God.”
In 2008, Gigli retired from the Record after 50 years in the business. He considers the 1970s and 1980s as photojournalism’s heyday. He has been a part the evolution of photojournalism from darkroom days to the advent of color photos and the digital age.
An active Catholic, he continues to take photos for his parish and The Beacon. Married to his wife Carole Anne for 58 years, he is the father of four — Joe, Mark, Ricky (who passed away in 2006), and Cherisse. He also has four grandchildren.
Inspired by his passion for photography, his son, Joe Gigli, who has been The Beacon’s photographer for two decades and his grandson, Matthew Gigli, who also freelances for The Beacon, have followed in his footsteps.
When asked if he has a favorite photo he has taken, Gigli said, “ ‘How does a mother pick a favorite child?’ is how I would answer that question.”
One question he is able to answer in reflecting back on his career, he said is that “I come to realize the great vocation it is for any photographer to present the Gospel of Jesus Christ to the world. There’s a prayer I say every day, ‘O, God, the world is so big but my camera is so small.’ ”