“Photography is a powerful tool that can be used in a very powerful way, but only if you’re committed to your ideals, if you’re committed to your passion. Not if you’re just doing something because you think that’s what everyone is going to underwrite or pay or hire you for.”

Karen Kasmauski is a photographer, director and filmmaker who produced 25 major stories for National Geographic Magazine over two decades, on topics including Human Migration, Viruses, Aging and Genetics. Most were based on ideas that she originated and proposed.

Karen’s book “NURSE: A World of Care” explores global issues facing the nursing profession and was nominated for the Pulitzer Prize. Her previous book “IMPACT: From the Front Lines of Global Health” examines the causes of infectious diseases throughout the world. Former President Jimmy Carter wrote introductions for both books. Karen was a director on the 2015 documentary film “Fall Seven Times, Get Up Eight—The Japanese War Brides” aired globally on BBC.

Karen’s travels have taken her from the rainforests of Malaysia to the megacities of India to the North Slope of Alaska. She has covered earthquakes in Japan, been arrested in Africa and exposed to radiation in Russia.

After receiving a Getty Images grant to produce a video on the struggles of an environmental nonprofit group, Karen was awarded a Knight Fellowship to study at Ohio University, where she received an MA in Visual Communication.

As an educator, Karen leads photography tours for National Geographic and other clients in locations ranging from Antarctica to New Guinea to the Galapagos. She teaches classes on video storytelling, photojournalism and news writing at George Washington University, The Corcoran School of Art and George Mason University. She frequently speaks to corporate and non-profit organizations on global health issues. Karen’s photographs have been exhibited at the United States Congress, the Centers for Disease Control, the National Academy of Sciences, Emory University and the National Geographic Society.

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On being a photographer

“I’m not an outgoing person, I’m fairly shy, and the camera gives me permission to enter people’s lives.”

“The main qualification to be a photographer is that you need to be curious about the world and the environment around you.”

“Photography needs to mean more than just recording the world. Photography needs to mean something to the photographer.”

“Photography, for me, is not about becoming famous or about becoming popular or becoming an Instagram hero. It’s about using a tool to understand the world around you. That’s what photography is for me, and photography’s a great tool to do that, because it really helps to connect you to people in a way that is usually nonthreatening.”

On working for NGOs and making a statement

“Working for an NGO is not where I go to make my statement. I am working for a client.”

On photography as a tool for change

“I’ve never had a real ego thing around my photographs, I see them as a tool in which to do what people need done, and also to tell stories that could possibly help.”

“How do we reach other people who are not the choir, who really need to have their dial moved on certain issues? How do we do that? That is a question we need to all think about and we all need to try to figure out how we can reach people who are not fellow conservationists, fellow people who think racism is bad. “

“We need to become much more ethically focused and more introspective about what we do, and we need to think about how we are using this incredibly powerful tool, which is the image.”

“The trouble with photography is that it’s not really quantitative. You don’t really know what the impact is.”

“In this day and age more than ever do we need young people to go into not just photography but writing and journalism in general.”

“Photography is a powerful tool that can be used in a very powerful way, but only if you’re committed to your ideals, if you’re committed to your passion, you know. Not if you’re just doing something because you think that’s what everyone is going to underwrite or pay or hire you for.”

On encouraging disaster porn in photography awards

“At one point you couldn’t win the World Press Award unless you had a body somewhere in the coverage.”

On finding and pitching stories

“It’s always about pitching an idea … yes, you may be good technically but you have to have an agenda, you have to have an idea, you have to have something you want to do.”

“If you are looking at those ideas they are already happening – they are already here. So, a story is something that you need coming down the road. It is a trend that is happening a year from now, or two years from now.”

“What I tell my students is, you not only have to be a good photographer, you have to be a pretty good writer.”

On the dangers of photography colonialism and stereotyping

“When people photograph poverty, they tend to make it very dark, and gloomy, and underexposed, and things like that. And people are always eating spaghetti and wearing wife beater t-shirts, and children are walking around with diapers hanging down off their pants. Yeah, there are people probably that exist like that, but for most of us who are raised in impoverished situations, that is not our story.”

“We, and our fellow photographers, and all these young people have money. We have the ability to travel. We have photography. We have a point of view that we think we want to show, and we go out there, and we use these poor people internationally to do it.”

“A lot of young photographers feel that they have to go out and get a poor impoverished African person in their portfolio.”

“I try to really get to know who I’m photographing, if I can. I try to figure out who those people are, what really defines them as people living with dignity … and try not to fall to the stereotypes.”

On the importance of collective work

“I think groups like the International League of Conservation Photographers, where you have these collective things going on where we can all work on the same cause, is really more important than individuals going out and doing it.”

 

“Only when I was able to relinquish control, to give up, to embrace hopelessness, was I able to start to see some semblance of order.”

Cory Richards’ camera has taken him from the runway to the wild and remote corners of world, from Antarctica’s unclimbed peaks to the Himalayas of Nepal and Pakistan, in an attempt to capture not only the soul of exploration, but also the beauty of modern society.

Cory is a passionate mountain climber on the North Face athletic team, and has carved a niche as one of the world’s leading adventure and expedition photographers.

Cory delivers stunning commercial and editorial images, and his client list includes National Geographic magazine, Outside, The New York Times, Red Bull, and Fossil.

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On community

“Community, above all else, is probably the most impactful thing that we can engage in.”

On growing up

“I wanted to fight everything, and that has been both a blessing and an absolute curse to this day.”

“I always felt very persecuted. I think that comes from a place of privilege, and sort of unknowing privilege. It comes from a place of entitlement. I didn’t know how good I really had it.”

“I couldn’t function as a normal human because I was so enamored with the lifestyle, and not understanding that you had to work for that lifestyle.”

On early success

“There’s a little bit of a curse that comes to getting it young. At the time I got my first [National Geographic] article I was 29. That’s young. I don’t think I was totally prepared for how that was going to push my life. It’s been a real struggle since then.”

“Getting the work a little bit later can be really valuable; you just know how to handle it a little bit more. You’re more prepared, you’re more adept, you have a bigger toolkit.”

“I think we always know when we’re getting blown up, but there’s something deeply addictive about ego.”

On hitting rock bottom

“I remember just laying on this carpet, and the smell of this empty rented house, and the shitty blinds, and just sobbing because I didn’t know what I was supposed to do. It was the absolute most vacuous place I’ve ever been.”

“I got divorced, I left my production company, I left my primary sponsor – and I did all that in a month. I burned my life down.”

On relinquishing control

“What really puts things in perspective for me is how far out of control my life managed to get when I was controlling it.”

“Only when I was able to relinquish control, to give up, to embrace hopelessness, was I able to start to see some semblance of order.”

On the authenticity of being authentic

“Being vulnerable helps. It helps me be honest. It helps me say, ‘Okay, I’m not lying. I’m no longer hiding anything.’ Because I feel like when we hide things, we become unhealthy.”

“I have to put myself in check and say, ‘Okay, am I being honest in this moment out of an authentic place or out of a place of: I want to be vulnerable because I know it works?’ That’s a very thoughtful process. You cannot escape that, and if you try to escape it, that’s not authentic.”

On seeking external validation

“When you’re relying on external validation as your source of value, you’re setting yourself up for failure. Those are very, very, lightweight skinny bowling pins, and you’re using a wrecking ball.”

On photography for a cause

“I think I’m in the process right now of getting out of my own way, getting out of the way of myself in order to actually start using photography to my greatest capacity.'”

“The sooner we can start to understand that we are not separate from the world, but we are very much tied to it, I think we’re going to have a lot more success both with ourselves as a human family, but also with solving the problems that we’re creating.”

“We’re engaging in a space right now where we have to teach the world to love itself a little bit.”

On identity

“There’s a lot of bullshit that comes with identity. In fact identity itself is bullshit.”

“If all this goes away tomorrow the legacy that I choose, the legacy that I want, the legacy that I value, is that I lived with integrity, I was honest, and I was a good person who lived in service.'”

“Only recently am I coming to terms and understanding what Andrew Phelps, my first photography mentor, actually meant when he said to me: ‘Cory, you’re probably going to be good at this and I just want you to remember. Never, ever, ever let what you do become who you are.'”

On the photographic process

“It’s an expression of my most inner space. It is a very meditative act where you do actually connect with a moment completely. It helps work through some of the mud of life and the emotions that we tend to push down. It becomes an expression of those.”

“On a very superficial level, it’s a game. It’s fun. It’s sneaky. It’s a dance. It’s a balance. How do I be delicate? How do I be intimate? How do I engage without invading? How do I maintain sort of this fly on the wall status? All of that is a very, very fun thing to do and I think it’s very valuable. Because, that’s what allows us to create emotive art and any art that creates emotion – elicits an emotional response – is, I think, valuable and good.”

“Composition, light, all of that stuff comes with observation… I actually pity people that it comes naturally to because there’s so much value in learning and seeing and being with light and time.”

On the dangers of feeling entitled

“When we start thinking of ourselves as entitled, that’s like buying a ticket on the Titanic. The old model is going down. We have to figure out how to innovate and be creative with how we move forward, not adhere to an antiquated past.”

On being a specialist

“Being a specialist has its upsides. People who are known for one thing tend to do very, very well. In order to be that one person, the Marco Grob of the world doing the portraits on every cover of Time or every celebrity or the Paul Nicklens or the Jimmy Chins of the adventure world, all of whom I look up to, I don’t want to be that. I have no interest in being that specialized.”

On having the best job in the world

“I would never say that I don’t have the best job in the world. I do. I hear that all the time. It’s too long of a conversation to have, nor would I want to have it with everybody, but at the same time you’re like: ‘it is the best job in the world, but be careful. Be careful what you wish for.'”

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.”

Jim Richardson on Fair Isle, Scotland © Kathy Richardson

“I gave up on the idea of objectivity. I don’t mean I gave up on the idea of truth. I gave up on this idea that you can be intimately involved with a place and not rely on your emotions and all the complex of things you know to help you understand the place.”

Richardson first began using a camera as a youngster on his parents’ wheat and dairy farm north of Belleville in north-central Kansas. He began experimenting with his father’s second-hand box camera, photographing the world of the farmstead for display at the Republic County Fair.

Now, his combined areas of expertise include volcanoes, agriculture, rivers and aquifers, and the United Kingdom, especially the people, culture, and landscape of Scotland, his Scotland, his family’s native Cornwall, and the wider Celtic world. His work has made him a prized speaker and visual presenter around the world.

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“It hardly matters what the subject matter is; it’s your understanding of it that’s going to bring life to it.”

“You can find the depth anywhere. The trick is knowing what to look for.”

“If we find photographs compelling there is probably some underlying reason and it would behoove us to examine what we’re getting out of it. [We should not be] too deterministic about the photographic frame that we use, the style.”

On objectivity and truth

“I gave up on the idea of objectivity. I don’t mean I gave up on the idea of truth. I gave up on this idea that you can be intimately involved with a place and not rely on your emotions and all the complex of things you know to help you understand the place.”

“We have to understand both how [photography] works and how it fails, otherwise this sort of glib idea that the camera tells the truth is actually destructive if it stops us from seeking a better understanding.”

On being a photographer in the digital age

“Photography has become another language. It’s how we speak, it’s how we share our thoughts and wishes and dreams, how we share our daily life down to the most mundane levels.”

“Photographs have come down from the gallery wall and joined everybody at the water cooler.”

“We used to have gatekeepers. If Bob Gilka at National Geographic thought you were one of the great photographers of the world, that’s all you needed. If you could convince that one person, you’re in. Now, when you post on Instagram, you have to convince all of those. I’ve got 375,000 followers – I have to convince them on a one-to-one basis each time that they ought to punch the like button.”

“We need to retune how we think about it and what reality really looks like as opposed to what it looks like when we doll it up and make it interesting.”

On community

“You can probably know the names of up to about 1000 people. But beyond that, no matter what size of the city, we’re all living in communities of 300 people.”

“The real interest comes in figuring out how these places work. Invariably, that comes down to how are people there bringing meaning to their lives. That what you see in front of you is the outward expression of what is going on invisibly in their minds.”

On being a contrarian

“There was a bit of anti-social angst in a teenage kid. The photography was a way of reaching some sort of creative productivity. Without sort of giving in to everybody else’s norms. I guess you could just say it was teen rebellion carried out with the twin-lens reflex.”

“I had a true aversion to doing anything that other people would glibly think you had to do.”

“I have always been satisfied standing off by myself… I have always been comfortable not being the prime player.”

“I was going anti-documentary, anti-photojournalism, and becoming something very different from what I had anticipated being.”

“With the democratization of voices you can start to build an audience and talk to that audience and say what you want to say. You can become your own publishing platform. It can make a difference. It is one of the most exciting times to be a photographer.”

Tyrone Turner is an independent photographer based in Arlington, VA, who has traveled extensively shooting stories focusing on social and environmental issues. As a contributing photographer for National Geographic Magazine, he has produced stories on the disappearing wetlands of Louisiana; increasing hurricane threats; the coasts of the United States; a special issue on hurricane Katrina; the rebuilding of New Orleans, and a cover story on energy efficiency and conservation. Tyrone was part of the Nat Geo team covering the Gulf Oil Spill in 2010. From August, 2014 to August 2015, Tyrone collaborated with the Nat Geo Proof blog, producing still and multimedia stories about New Orleans as the ten year anniversary of Katrina approached.

Tyrone has won awards from the Pictures of the Year competition (POY) as well as The Best of Photojournalism (BOP). He was recently was named as a Fellow with the Virginia Museum of Fine Art for 2016-2017.

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On dealing with the highs and lows

“Everybody goes through highs and lows. The highs are a lot of fun. The lows are hard. If this were easier, then even more people would be doing it. But the lows are when you really need to kind of boil down what you’re doing, and what your vision is. Also really tapping into your community for the support. Then giving that back.”

Advice from his father

“Things are never as bad as they seem. But they’re also never as good.”

On advice to young photographers

“I find that people will take a picture and then escape. And that’s really blowing an opportunity to connect with the person. To get a little bit more.”

On his path to National Geographic

“I did not know how to get to National Geographic, and it seemed like a very long road to get to people at the magazine.”

On the challenges and opportunities of being a photographer today

“As people struggle with the economic models of photography and photojournalism, especially with the media outlets either being smaller, like not as many assignments or not paying that much. There are just not as many jobs out there. It’s really become a smaller marketplace in that way. There’s this real economic challenge. At the same time, there’s just this huge explosion of how you connect to people, and so that’s really heartwarming.”

“With the democratization of voices you can start to build an audience and talk to that audience and say what you want to say. You can become your own publishing platform. It can make a difference. It is one of the most exciting times to be a photographer.”

“The media that’s out there, it saturates, but I think that that’s a real opportunity because then the people who have a little more clearer thing to say, the people who have better pictures, who have something that they’re really passionate about and they can do it in a good way… that stands out amongst the chatter.”

On specializing

“To come to the forefront of someone’s mind, they need to have an image attached to it, so they know who they are going to and why.”

“It seems that what is valuable in the marketplace is being able to stand out for one thing.”

On evaluating his images in the field

“I’m surprised a lot of times by how hit and miss that evaluation is. Sometimes, I’ll come back, and I think, “Man, I really nailed that,” and you know, it’s all right. Sometimes you think, “Man, I didn’t get that,” but then you’re missing what you did get from the situation.”

On shooting difficult and traumatic situations

“Sometimes you’re in situations where it feels like people judge you as pariahs, or of really taking advantage of people, but I don’t see that at all. I see it as walking with people, and you’re interpreting through a lens.”

“It would feel worse to walk away without a good picture.”

Rena Effendi © Maria Ionova-Gribina

© Maria Ionova-Gribina

“In the media, you see events, and events have a tendency to be forgotten. You kind of look, and you forget, and I think there’s a lot more staying power if you lay down a gallery of faces.”

And staying power is what Rena Effendi achieves through a thoughtful, reflective and deliberate approach to photography, shunning the immediate gratification of the digital camera to shoot film, and in doing so, telling enduring stories from the shadows

Rena is a fellow National Geographic Creative photographer born in Baku, Azerbaijan. She grew up in the USSR, witnessing her country’s path to independence—one marred by war, political instability, and economic collapse. From the outset, Effendi focused her photography on issues of conflict, social justice, and the oil industry’s effect on people and the environment. From 2002 to 2008, Effendi followed a 1,700-kilometer pipeline through Azerbaijan, Georgia, and Turkey documenting the impact this multibillion-dollar project had on impoverished farmers, fishermen, and other citizens. This six-year journey became her first book Pipe Dreams: A Chronicle of Lives Along the Pipeline, published in 2009. The project received numerous awards, including a Getty Images Editorial grant, a Fifty Crows International Fund Award, a Magnum Foundation Caucasus Photographer Award, and a Mario Giacomelli Memorial Fund Award. In 2012, Effendi published her second monograph “Liquid Land”, where her images of Baku are paired with photographs of perished butterflies hunted by her father, a Soviet entomologist, who collected more than 30,000 butterflies in Soviet Union. “Liquid Land” punctuates the theme of fragility and environmental decay of her native city.

Over the past 10 years, Effendi has covered stories in the post-Soviet region, as well as in Turkey and Iran, including the 2008 Russia-Georgia conflict, women victims of heroin and sex trafficking in Kyrgyzstan, and the hidden lives of youth in Tehran. In 2011, she received the Prince Claus Fund Award for Cultural Development and moved to Cairo. In 2012, Effendi was short-listed for the Prix-Pictet Global Award for Photography and Sustainability, for her series documenting life of the survivors of the Chernobyl nuclear disaster. Effendi’s involvement with World Press Photo goes back to 2005, when she was a participant in the Joop Swart Masterclass. In 2012, she was a selector for, and later contributor to the organization’s Reporting Change project. In 2014 Rena Effendi won 2nd and 3rd places in Observed Portrait Stories and Observed Potrait Singles categories of the World Press Photo Contest.

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On guilt

“Sometimes I feel guilty. I mean, I realize that I shouldn’t, but there’s always this moment where you’re in a place and there’s a lot of despair in that place – the people, the way they live, and the circumstances in which they’ve found themselves are not good. Then you realize you’re going to walk away from there, and you will be fine and then they’re still there.”

“There’s this part of me which thinks in a way I prey upon the misery. That’s the nature of this job unfortunately. It’s the flip side in a way, because we’re paid for it. At the same time, there is no harm in it. By being there I’m not doing something bad for the people. I’m not harming the people.”

“I would not walk away from the stories just because I’m not strong enough. I think these are important stories. They need to be told.”

“When you look at a photograph that’s sad or horrific or when you look at photograph that’s full of light and happy, they all belong, they all have a right to be.”

On self doubt

“Every story, there’s always this self-doubt, “Oh my God.” I arrived in Mumbai that first day. It was pure anxiety. I was really worried. Then, you know what? The magic happens when you take the camera in your hands and you start working. Then all the stress, all anxiety, everything, it’s like meditation. Everything goes away. You’re so focused on the pictures that you can’t physically think about … Mentally, there’s no mental space to think about anything else. That is, there’s no mental space for anxiety. You can’t have it.”

“I compare it to meditation because it’s hyper focus. The way you see things when you are photographing is very different, and it’s much more concentrated focus than when you’re just walking around. You’re in a different state of being completely.”

On storytelling

“I think it’s important to go in with some kind of structure in your head of what, how you want to tell the story. Not necessarily the shots but what feelings you want to convey, what is the flow in a way, and what elements would make it into a narrative? What elements do you need to build a narrative?”

On Rena’s approach to photography

“With film I wait a lot in between, I don’t shoot. I wait and I observe, and it’s much more focused. That’s the main difference for me, the main difference in digital.”

“In the media, you see events, and events have a tendency to be forgotten. You kind of look, and you forget, and I think there’s a lot more staying power if you lay down a gallery of faces.”

“I don’t think that the gear gets between me and the subject. I think when we have a tiny camera, we are already an outsider and the subject is already looking at us like we’re space aliens. It doesn’t matter what you have in your hands, a phone or a crazy looking camera.”

On photography as a tool for change

“I try to keep an even bar of my expectation and not be too romantic about it. [Change as a result of my photographs] is not something I can predict or guarantee.”

“Social change is very important but I think also information is very important. Informing the public about these things, about these issues, about these places, is as important.”

Photo by Annie O'Neill

Photo by Annie O’Neill

“It’s not about what you can take. It’s really about what that person chooses to give you.” It is a sentiment woven throughout Lynn Johnson’s photography, in which the respect she has for those whose stories she is telling shines through.

 

Lynn has dedicated the last four decades to exploring the far reaches of the human condition. She is known and respected for shooting elusive subjects—vanishing languages, disease, rape, the invisible injuries inflicted by war —and for asking tough questions. But what is striking about Lynn is the respect and integrity she demonstrates throughout her work, always putting the people who let her into their lives above her own ambitions. Her ego never gets in the way of allowing the people in front of her lens to tell their story. In her most recent story for National Geographic Magazine she put away her medium format camera in favor of her smaller, less intrusive iPhone, as her friends mother passed away before her. For a story on crossing over she went against the instructions of her editors to honor the people that invited her to witness such a profound and moving moment.
Lynn’s images frequently grace the pages of National Geographic Magazine, and she was recently awarded a National Geographic fellowship.
It was a rare treat to sit down with Lynn at the National Geographic headquarters in Washington, DC to discuss everything from her unique approach to photography to how she came back from being told by an editor that being around her was like being dropped into a pit with a cloud over it, and to absorb some of the wisdom she exudes.

 
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On developing as a photographer

“In my younger mind I believed that I wanted to be in the presence of hard news – that that’s where intensity lived – to some extent that’s true. Now I understand it lives everywhere.”

“The work has to come from that deep place [like a profound experience in your life that gives you purpose]. And then you will learn the tools that you need to do that work. But if you start from the outside – ‘I have to know how to do video, and audio and stills, and I have to know this program and that program’ – you’re starting on that widest circle. Whatever level you are, starting from that interior self and working out is the best way.”

“I don’t think of images I’ve done in terms of relationship to history as much as in relationship to first and foremost hoping it changed the life of the person that allowed me to photograph them, because they have to go through a process of self awareness and reflection.”

On being an outsider

“I am an outsider, I’ve always been an outsider, and I think being an outsider is what enables me to do the work.”

 

Pete Muller profile shot copy“I never think I’ve got the story. Ever. It’s almost ridiculous. I put myself through the wringer” says the ever humble, ever dedicated Pete Muller. Muller is a contributing photographer to The New York Times and The Washington Post, and is currently working on his third story for National Geographic Magazine. Since 2005 he has been working to document the individual consequences of war, poverty and social unrest. Through a combination of photography, text, audio and video recordings, he aims to illustrate broader issues through individual stories. He creates images and material that demand consideration for the lives of those depicted, driven by the belief that intimate, sensitive photographs leave indelible marks on the conscience and actively oppose the sterilization of human suffering. In 2011 Pete was named TIME Magazine’s Wire photographer of the year for his contributions to the Associated Press from Sudan and Central Africa. Visit Pete’s website and follow him on instagram below.

 

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SELECT QUOTES FROM THIS EPISODE:

On photography and the role of art

“Photography is a relatively simple medium in its technical elements. Therefore it has to mean that what’s driving the photography is something bigger than just the photography. I love the visual elements of photography. I love the artistic components of photography. But to me it’s got to be part of a conversation.”

“It might be beautiful to look at, but your staying power comes from your critical thinking. What are you helping to explain or explore or understand through photography?”

“The role of art is to connect us and let us know that we are not alone… You have to give a lot of yourself. And that’s where connection happens. That’s where trust happens. And that’s where vulnerability happens.”

On self doubt

“I never think I’ve got the story. Ever. It’s almost ridiculous. I put myself through the wringer.”

Advice for younger photographers

“I would advise younger photographers to put your head down and think about what you are shooting and why. Think about how you can add to the conversation. Think about how to contextualize your work in broader conversations that are unfolding. Try to make yourselves relevant by contextualizing yourself appropriately and situating yourself in discourse that’s interesting and important beyond photography.”

On being asked to shoot the ebola story for National Geographic Magazine

PM: “When I got the chance to shoot the ebola story, I was SO scared. SO nervous. I was a ball of nerves.” RM: “Did you have to sit on it, think about it, do a little research before you agreed?” PM: “Well I accepted it right away. There was no way I wasn’t going to do it.”

Other Links

Peter van Agtmael has been a mentor and source of inspiration for Pete – check out his work here.

 

Annie-Griffiths-Belt-Web-headshot“In a creative field you need inspiration and you need comfort and you need humor. You need to not take yourself so seriously. And move that focus to the work. That’s when stuff happens.”

Annie Griffiths is a photographer with a mission – some might say many missions.

She is a true trail blazer, refusing to be bound by convention and unafraid to push for what she believes is possible and right. Annie was one of the first female photographers with National Geographic, and managed to balance the demands of assignments that would span two or three months with motherhood, bravely taking her two children, Lily and Charlie, with her to the remote corners of the earth. Their presence opened doors for Annie in cultures in which other mothers welcomed her, and demonstrated that women did not need to relinquish their chance at a successful career to become mothers.

Annie has photographed in over 150 countries and has seen the good, the bad and the ugly in the human condition. But where others may see only problems and challenges Annie sees opportunity. Angry at the role the media was playing in portraying disenfranchised women and girls around the world as vulnerable and weak, Annie decided to tell a different story, and founded Ripple Effect Images to cover under-reported issues that impact women and girls. She assembled a team of some of the best photographers to help her, and Ripple Effect is going from strength to strength in helping to scale solutions for women and girls globally. Annie is also a Senior Fellow of the International League of Conservation Photographers.

Annie’s exuberant personality and positive outlook shine through in her vibrant images and stories that paint women and girls around the world as strong, resilient and bursting with hope.

RIPPLE EFFECT INSTAGRAM FEED FEATURING THE WORK OF ANNIE GRIFFITHS, LYNN JOHNSON, AMI VITALE, JOANNA PINNEO AND JOHN STANMEYER 

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SELECT QUOTES FROM PODCAST

On finding your path

“When you get your internship, when you look for your job, make sure you are surrounded by people who are better than you. The last thing you want is to be the best photographer at the place, because it will make it much more difficult to grow.”

“There isn’t a clear path. No-one to fix it for you. Your expectations should be high of yourself, but not of the world and the path that should lay before you.”

“Don’t be competitive. I’ve seen it trip people up all the time. I see them lose focus on their work, because they’re looking over their shoulder. It’s like being at a cocktail party with someone you’re trying to have a conversation with and they’re constantly looking over your shoulder.”

“You grow up and realize that the only people looking at your byline are your parents and that it’s the work that’s important.”

“Attorneys don’t start out at the supreme court. For some reason with photography there can be an unrealistic focus on the goal and not the path. And the path is really important. And it humbles and it informs, and sometimes it takes you in a completely different direction than you had planned.”

“In a creative field you need inspiration and you need comfort and you need humor. You need to not take yourself so seriously. And move that focus to the work. That’s when stuff happens.”

On self doubt and humility

“One of the things many photographers struggle with is self doubt. There’s a perception that we’re all just totally confident in what we’re doing, and it’s just not true.”

“You get [to these remote communities] and people have never heard of National Geographic or Photographer of the Year, and they are just being kind to a stranger. It’s another thing my mom taught me: People who have nothing give everything. And it’s true.”

“There are celebrity cardiologists and celebrity businessmen. In each profession there are people that lead. And what matters is not them, it’s the work that they do. So I’ve always wanted my work to be useful as well as beautiful.”

Advice to her 20-year old self

“I would tell myself not to be so hard on myself, and not to worry about silly things like style and reputation and the kind of lala land stuff. If you want to be a photojournalist you need to count on your curiosity and your skills, and be proactive about moving stories forward not just yourself forward.”

“Be kind, treat people well, do your job to the best of your ability, set lofty goals and work your way towards them, but don’t think you’re going to start with your lofty goals.”

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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SELECT QUOTES FROM PODCAST

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.”