National Geographic Photographer Quotes

While National Geographic magazine had given me a taste of the world, the three-dimensional details of this moment - the tickle of the rain drops, the suck sound of my feet in the mud, the challenge of getting photographs of the monkeys, my immature urge to make the driver wait even longer because he was annoying - would feed me for years to come.

The big problem with pornography is defining it. You can't just say it's pictures of people naked. For example, you have these primitive African tribes that exist by chasing the wildebeest on foot, and they have to go around largely naked, because, as the old tribal saying goes: "N'wam k'honi soit qui mali," which means, "If you think you can catch a wildebeest in this climate and wear clothes at the same time, then I have some beach front property in the desert region of Northern Mali that you may be interested in." So it's not considered pornographic when National Geographic publishes color photographs of these people hunting the wildebeest naked, or pounding one rock onto another rock for some primitive reason naked, or whatever. But if National Geographic were to publish an article entitled "The Girls of the California Junior College System Hunt the Wildebeest Naked," some people would call it pornography. But others would not. And still others, such as the Spectacularly Rev. Jerry Falwell, would get upset about seeing the wildebeest naked.

In this fleeting life, there is nothing stronger than a visual idea or moment stopped in time forever. And nothing does this better than a black-and-white photograph.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

Cuando la gente pregunta cómo nuestros fotográfos hacen las fotos más estupendas del mundo, ellos podrían encogerse de hombros y decir "f/8 y estar allí". Pero estar allí significa mucho.

We have been spoiled by artists’ renderings into imagining a clarity of resolution that doesn’t exist in actual astronomy. Pluto in Christy’s photograph is faint and fuzzy—a piece of cosmic lint—and its moon is not the romantically backlit, crisply delineated companion orb you would get in a National Geographic painting, but rather just a tiny and extremely indistinct hint of additional fuzziness. Such was the fuzziness, in fact, that it took seven years for anyone to spot the moon again and thus independently confirm its existence.

My friend Jim Richardson, a National Geographic photojournalist, likes to make the distinction between being a "traveler" and a "sightseer." According to Jim, a traveler seeks engagements with the local people and culture, while the sightseer just clicks off sights in the guidebook, a "been there, done that" mentality. A sightseeing photographer stands apart from the culture and "steals" pictures from a distance, while a travel photographer becomes involved with his or her surroundings and the people, and the resulting pictures become more intimate.

So it looks like I’ll be stuck hugging a photograph.” “I’m sorry,” Emma said. “No, that’s not true. I’m glad. I want you to miss me desperately.” “I think you’ll get your wish,” Jimmy said. “When will you come back?” “Next summer, definitely, whether Dad wants me to come or not. I’ll be an independent girl with a college degree. Maybe some paper like the Miami Herald or the LA Times will offer me a job. In the meantime, we have the National Geographic piece to pull together. We can still be a team.” “Be warned that I may come after you.” “If you do, there’s something I want you to bring me.” “Sure. Anything,” Jimmy said, “as long as it’s not some kind of exotic pet. What?” “This.” Emma took Jimmy’s face in her hands and looked straight in his eyes. She then placed her lips on his and gave him a kiss. It was a kiss that erased the pain and eradicated the bad memories, a kiss that left nothing but joy and a promise for things to come.

Peter Allison is a safari guide who has spent much of the last twelve years leading wildlife-viewing and ecotourism trips in Africa, mostly Botswana. His love of animals led him to train as a safari guide in the early 1990s and soon thereafter he was hired by southern Africa’s largest operator to train all of their safari experts. Safaris he has led have been featured in magazines such as Vogue and Condé Nast Traveler. He has assisted National Geographic photographers and appeared on television shows such as Jack Hanna’s Animal Adventures. Peter is also active with the Athena Foundation, a nonprofit conservation group. He is on the board of the Athena Foundation’s youth program, whose mission is to inspire young people to develop their interest in conservation. Originally born and raised in Sydney, Australia, he currently divides his time between Australia, California, and Botswana.

To the canon of women explorers like Gertrude Bell and Nellie Bly, add journalist Eliza Scidmore to the list of exceptionals. This meticulously researched biography brings to life the woman whose curiosity and passion for travel bought the wonder of distant lands in words and pictures to American readers.

Stirton's work, he says, is now all about investigation. 'You literally are trying to find out what's happening and, finally, manoeuvre yourself to the point where you can take a picture, and then you're presented with a 20-minute window where it's: Okay, now get your picture!' His voice is charged with emotion. 'Fucking angst and worry and, you know, FEAR of failure – every aspect of that comes into those 20 minutes, so it's a very intense experience. So when I make those pictures, I'm worried; I’m nervous.

Dolphins Aren’t Smiling A dolphin’s “smile” is actually an illusion. So is our belief that these animals can heal. BY LORI MARINO FROM AEON MAGAZINE PHOTOGRAPH BY VINCENT J. MUSI/NATIONAL GEOGRAPHIC CREATIVE

Psihoyos usó flashes de estroboscopio para tomar múltiple imágenes de él mismo en el antiguo teatro de Epidauro, en Grecia. La ciudad levantó un santuario a Asclepio, días de la medicina, que se cree que realizaba sus curaciones durante el sueño.

Do you want to be a professor too?” He shrugs. “Maybe one day. I’d like to travel more first though, work on dig sites in places like Greece or Central America. Ancient civilizations are buried everywhere. It’s, like, no matter where you walk, you never know what could be under your feet. I want a job that lets me see all the things I want to see before I get stuck behind a desk.” “I know what you mean. I can’t wait to see the world and document it, photojournalist style.” An image of the two of us traveling together pops into my mind: him digging up the world and me taking pictures of it. I squash those butterflies too. “Yeah?” he asks, his smile finally revealing teeth. “I can see you doing that, like for National Geographic or something.” “You haven’t even seen any of my pictures,” I scoff. “ Besides, can you imagine how competitive a job that would be? Those photographers are incredible. They have years of experience under their belts. I’m not even eighteen years old yet.” “Doesn’t matter. You’ve got time,” he says. “You know what someone said to me once? Figure out what you love doing, then figure out how to make money doing it.” I turn the thought over in my head. “I like that.” He smiles, plunging his hands into his pockets. “So tell me about you. Who is Pippa, in the broad scheme of things?” He winks. I return the smile. “Well, I’m an only child, born and raised in Chicago--” “Ah, Chicago. That’s the accent.” “I told you before, I don’t have an accent.” “To your ears you don’t.” He laughs. “But it’s definitely there to the rest of us.” “Is that a bad thing?” “No,” he says. “It’s cute.” Oh, I might die. A boy used the word “cute.” And when describing something about me. I can’t look at him.

A Bob Sacha le gusta trabajar de noche, cuando puede ver las cosas de manera distinta. Realizando un reportaje en Nuevo México para el artículo "Los primitivos astrónomos americanos", tomó una fotografía nocturna de la Casa Rinconada, una kiva anasazi en el Chaco Canyon. Sacha creyó que el mejor modo de plasmar la imagen de esta estructura circular -construida con la precisón del compás- era mediante una fotografía que mostrara los desplazamientos circulares de las estrellas sobre ella. Para conseguirla necesito una exposición de varias horas. Dispuso su cámara directamente en la puerta sur del edificio, y apuntó el objetivo ojo de pez hacia la puerta norte. Iluminó cada sección de los muros durante a penas un instante; para ello trabajó en noche sin luna, caminando al rededor del edificio y disparando el flash repetidas veces. Para iluminar los nichos encendió una vela en uno de ellos, contó hasta tres, y la apagó y avanzó hasta el siguiente e hizo lo mismo, con el obturador abierto todo el rato. "Con largas exposiciones como ésta, no tienes ni idea de lo que realmente está pasando" dice Sacha ". No puedes mirar a través de la lente.

Para mí, un éxito es cuando termino un reportaje y estoy triste porque estoy alejándome de alguien de quien había logrado estar cerca" dice Karen Kasmauski

Incluso en esos días, los fotográfos de Geographic tenían fama por algo más que las fotografías. Como uno de ellos expresó recientemente, "me encantaría haber vivido la vida que la gente cree que he tenido". Si la dinámica imagen del fotográfo de Geographic parece exagerada en novelas, folclore y cine, bueno, su vida es todavía nada aburrida. Nuestros equipos fotográficos han sobrevivido a ataques de tiburones, ejércitos invasores, aviones estrellados y volcanes en erupción.