Joel Sartore © Cole Sartore

“I’ve never had anybody [at National Geographic] tell me what to do. There’s never an agenda, I mean, never. They just let me go out and be a journalist. As long as I’m a responsible person and respect that, I’m okay, and that’s the way they expect us to be good, truth-telling journalists, and just to show what we see.”

Joel Sartore is a photographer, filmmaker, speaker, author, teacher, conservationist, National Geographic Fellow, and a regular contributor to National Geographic magazine. His hallmarks are a sense of humor and a Midwestern work ethic.

Joel specializes in documenting endangered species and landscapes in a way that draws attention to a world worth saving. He is the founder of The Photo Ark, a multiyear documentary project to bring awareness to endangered species, habitats, and the biodiversity necessary for healthy ecosystems. Joel has contributed to numerous magazines, books, and national broadcasts including National Geographic Explorer, NBC Nightly News, NPR, PBS, and CBS Sunday Morning.

He is always happy to return home to Lincoln, Nebraska to his wife and their three children.

Visit Joel’s website.

Coincidentally, Joel’s latest National Geographic Story on small cats features a friend and colleague of mine, Jim Sanderson, and the work of Global Wildlife Conservation in protecting endangered and forgotten species.

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On the power of photography

“It’s harder to lie with photos.”

“Even if you were to stitch one person’s head onto another person’s body, it’s easy to discern that, it’s easy to see that it’s fake. So people do have a visual sophistication about them as never before, and that plays to our advantage – if you’re a good journalist and you’re telling the world what’s going on. They can tell whether or not you’ve been truthful right off the bat.”

“The fastest thing on the web is a still photograph”

On journalistic rigor

“The first thing they teach you on the first day of [journalism] class is, spell people’s names right, because that’s the one thing people are going to care about the most, and you’re going to hear from them.”

On the importance of being a specialist

“Even the generalists are known for lighting things a certain way or having a certain style, so they specialize too. You better be really great at something if you want to be employable.”

On shooting for National Geographic

“I’ve never had anybody [at National Geographic] tell me what to do. There’s never an agenda, I mean, never. They just let me go out and be a journalist. As long as I’m a responsible person and respect that, I’m okay, and that’s the way they expect us to be good, truth-telling journalists, and just to show what we see.”

On the evolution of photography

“Am I angry that the web has reduced the number of print journalism jobs?” One, you can’t fight the tide, and two, there’s no way I’d want to go back. We can let the world know right away when there’s an environmental problem or when somebody does something very well and it’s something we’re celebrating.”

On the Photo Ark

“It was an 11-year overnight success.”

“A mouse is every bit as vital and interesting and big as an elephant on these backgrounds.”

“It’s the only chance they’re going to have to be seen alive looking good, and big, and beautiful.”

“I’m bummed continually that I didn’t start the project until I was half dead. I started it at 42. I should have started it at 20 but I just didn’t … It just took that long to come to me.”

“I would have encouraged myself to not worry about the money, and start shooting that project then.”

“It’s easy to be critical, it’s harder to do something positive and constructive”.

“There’s never been a better time to save species, because there’s never been so many on the ropes. But also people have a lot of information at their fingertips. They want to be heroes to themselves and their friends and family.”

On learning manmade light

“The lighting couldn’t have gotten any worse than it was at the start. I’d been shooting for the Geographic for 20 years almost and just didn’t really understand the properties of manmade light. I’m starting to learn that now. I’ve still got a long way to go, but I’m starting to learn it. I like the fact that photography’s very hard to master and it’s infinite in its variety. I like that.”

Brian Skerry on assignment“I am a photojournalist, first and foremost, and if I cross a line, then there might not be any going back. I think you have to maintain journalistic integrity, and if you do the story right, then people will draw their own conclusions to the degree that there is a right and wrong in these stories. Hopefully, people come away with a right informed perspective.”

Brian Skerry is a photojournalist specializing in marine wildlife and underwater environments. Since 1998 he has been a contract photographer for National Geographic Magazine, and in 2014 he was named a National Geographic Photography Fellow.

Brian is praised worldwide for his aesthetic sense as well as his journalistic drive for relevance. His uniquely-creative images tell stories that not only celebrate the mystery and beauty of the sea, but also help bring attention to the large number of issues that endanger our oceans and its inhabitants.

Brian’s year round assignment schedule frequently finds him in environments of extreme contrast, from tropical coral reefs to diving beneath polar ice. While on assignment he has lived on the bottom of the sea, spent months aboard fishing boats and traveled in everything from snowmobiles to canoes to the Goodyear Blimp to get the picture. He has spent more than 10,000 hours underwater over the last thirty years.

Brian frequently lectures on photography and conservation issues having presented at venues such as TED Talks, the Royal Geographical Society in London and the Sydney Opera House in Australia. He is also a regular guest on television programs such as NBC’s TODAY Show, CBS Sunday Morning, and ABC’s Good Morning America. Recognition for his work includes awards from organizations and competitions such as Pictures Of The Year International (POYi), BBC Wildlife Photographer of the Year, Nature’s Best and Communication Arts. In 2010, National Geographic magazine named one of Brian’s images among their 50 Greatest Photographs Of All Time

Brian is a founding Fellow of the International League of Conservation Photographers (ILCP) and is actively involved with numerous conservation groups. 

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On learning to dive and photograph in cold, murky waters

“I knew that if I could work in those conditions, that are more challenging both from a diving and photography standpoint, that I would probably have a little bit easier of a time when I got to the warmer, clearer, easier places to work.”

“You’d work all week for a half an hour on the bottom on a given dive or maybe a couple of hours over the course of the weekend. Part of that time was just getting down to these sights, the shipwrecks, or to the ledges that I was diving, looking for lobsters or fish and things. Trying to make a few pictures and then come back. It was a tremendous amount of time invested for a very little reward.”

On breaking in to National Geographic

“[My colleague] said, ‘if you want I will recommend you but I think you’ve got about a 98% chance of failure with this story. Keep in mind with National Geographic you’re only going to get one chance so you might want to wait for a better opportunity to come down the road.’ I thought about it and part of my gut told me that another opportunity may never come down the road.”

“I was leaving [National Geographic], I was in the elevator wearing my suit and tie and heading back to my hotel. There was a woman in the elevator who I really didn’t know, she was in a lot of these sessions. She started asking me questions, “Geez, Brian what else do you shoot? Do you do natural history? Do you have more stuff we could look at?” It turns out she was the Deputy Director of Photography, Susan Smith, at the time who was one of the people that was sort of a talent scout.”

On drawing the line between photojournalism and advocacy

“I am a photojournalist, first and foremost, and if I cross a line, then there might not be any going back. I think you have to maintain journalistic integrity, and if you do the story right, then people will draw their own conclusions to the degree that there is a right and wrong in these stories. Hopefully, people come away with a right informed perspective. That being said, as a human being you can’t do something for decades and not have an opinion.”

“If I am in the ocean, and I see an anthropogenic stress that has occurred to an animal … For example, if I was swimming along a coral reef and there was a sea turtle all wrapped in fishing line in monofilament and struggling on the bottom of the ocean and if I could go over and untangle that turtle, I absolutely would do it.”

On balancing the desire for meaning and the need to earn a living

“You’ve got to make a living, you’ve got to pay the bills, but if there’s a little bit of time in your schedule to do something for free that it benefits the world, then boy, that’s a rare opportunity.”

“For the most part, I believe that the people who go into this kind of work do it because they very much care about nature, they care about the planet, they’re not in it just for the money. I mean we have to make a living, but if we were in it for the money there’s a lot of other careers that would be far more lucrative.”

On excuses for not getting the shot

“They really don’t care that there was a hurricane, or that the boat sank, or that my camera flooded. I mean, at the end of the day, either you got the picture, or you did not get the picture. That’s really all that matters. It’s like a professional athlete. You could have maybe one bad game. Boy, if you have a couple, you’re going to be sitting on the bench.”

Advice for emerging photographers

“Timing is everything and this is what I often tell emerging photographers, young photographers that it isn’t really a race. Obviously, you want to get out there and do your thing but you also want to be prepared so the more time that you can invest in yourself, your skills and whatever it is that you want to do out there, it will not be wasted. That’s really important.”