it’s not a normal life the life of a
National Geographic photographer any way
you cut it I mean everybody thinks oh
it’s just the perfect job and in some
ways the one side of the corn looks very
shiny unattractive and right we turn it
over and there’s like stuff underneath
it deal with you have to care
you really have to care it sounds simple
Brett well I even get emotional
sometimes my daughter but you cannot do
superior work if you’re indifferent how
are you gonna go yeah you’ve got to care
doesn’t mean you have to love it you
might hate it but there’s got to be some
driving force there that’s gonna bring
your work up to the level you want it to
be that passions got to come from with
them and I think it’s absolutely a
necessity otherwise it’s just a job you
can’t take this job and just put it over
here on a shelf as the job and lay up
all the other stuff I want to live right
in the middle of my story if I just go
out and walk through the story and
respond to what I see at that moment I’m
doing a Paris neighborhood well
obviously I’m gonna live in that
neighborhood I’m doing a bunch of
Buckaroo is gonna I’m gonna be in there
cow camp I want to be right in the
middle of the story I want to hotel room
if at all possible that I can maybe make
a picture of first thing in the morning
out my window or the last thing before I
go to bed I’m very much indebted to
serendipity you go out looking for
something you find something that was so
much better than you thought it was the
difference between a good picture and
I’m reading fine picture is very often a
matter of inches of doing this doing
this – its how you’re putting that space
together and that’s where one sense of
grace and balance come in it it’s how
you see it’s the old Hemingway off
switch you cut away and kind of way kind
of way get rid of the stuff you don’t
need you know it’s responsible for every
little bit of that space within the
picture but it’s intuitive I don’t sit
there and consciously say won’t you know
like the yelling over there I mean it’s
you rap to it you know the lines the
angles look away the light and shadows
fall but it’s not complete so I have to
wait for the completion you can’t get
them all nobody gets them all very often
I leave too soon and then I look over my
shoulder and there it was you know
hairless seeing that so that’s a joy
that’s an absolute joy you’ll say
doesn’t did your scene of that you
didn’t get it but you saw it
I mean how lucky can you be to live a
life where you see so many wonderful
things
National Geographic photographer any way
you cut it I mean everybody thinks oh
it’s just the perfect job and in some
ways the one side of the corn looks very
shiny unattractive and right we turn it
over and there’s like stuff underneath
it deal with you have to care
you really have to care it sounds simple
Brett well I even get emotional
sometimes my daughter but you cannot do
superior work if you’re indifferent how
are you gonna go yeah you’ve got to care
doesn’t mean you have to love it you
might hate it but there’s got to be some
driving force there that’s gonna bring
your work up to the level you want it to
be that passions got to come from with
them and I think it’s absolutely a
necessity otherwise it’s just a job you
can’t take this job and just put it over
here on a shelf as the job and lay up
all the other stuff I want to live right
in the middle of my story if I just go
out and walk through the story and
respond to what I see at that moment I’m
doing a Paris neighborhood well
obviously I’m gonna live in that
neighborhood I’m doing a bunch of
Buckaroo is gonna I’m gonna be in there
cow camp I want to be right in the
middle of the story I want to hotel room
if at all possible that I can maybe make
a picture of first thing in the morning
out my window or the last thing before I
go to bed I’m very much indebted to
serendipity you go out looking for
something you find something that was so
much better than you thought it was the
difference between a good picture and
I’m reading fine picture is very often a
matter of inches of doing this doing
this – its how you’re putting that space
together and that’s where one sense of
grace and balance come in it it’s how
you see it’s the old Hemingway off
switch you cut away and kind of way kind
of way get rid of the stuff you don’t
need you know it’s responsible for every
little bit of that space within the
picture but it’s intuitive I don’t sit
there and consciously say won’t you know
like the yelling over there I mean it’s
you rap to it you know the lines the
angles look away the light and shadows
fall but it’s not complete so I have to
wait for the completion you can’t get
them all nobody gets them all very often
I leave too soon and then I look over my
shoulder and there it was you know
hairless seeing that so that’s a joy
that’s an absolute joy you’ll say
doesn’t did your scene of that you
didn’t get it but you saw it
I mean how lucky can you be to live a
life where you see so many wonderful
things
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