National Geographic : 1995 Aug
WHY I GOT THOSE PICTURES Like I said, the travelingis good, andI likefooling with cameras and being out of doors. YES, THE TRAVELING IS GOOD, but the living isn't always easy. Along with "camera fooling" come dreary motel rooms and hopeless, rainy days without the chance of a single shot. Government bureaucrats who say "you can't go there" and 80-hour weeks. "When people tell me they'd love to have my job," says Louie Psihoyos, "I think: 'If you only knew.' " So, what's the motivation? "To make people care ... about the disappearing rain for est or great apes. I have a sense of mission," says Nick Nichols. "To pass along that sense of curiosity that I feel. Open your eyes; there is no end to the world," says Cary Wolinsky. "For the experience," says Robert Madden. "To say you were on the aircraft carrier when they pulled the Apollo 11 capsule out of the drink." There for the funeral of Churchill. The opening of a Maya tomb. The fall of Pino chet in Chile. The rise of Yelt sin in Russia. You were there. A witness. For others, the drive to cap ture an image springs from some other place. "To show that even with all A cafe window in Parisframes a couple and mirrors the quiet intrusion ofphotographer Bill Allard. "We're takers," he says. "Look at our language. We 'cap ture' this, 'get' that." Photogra phers give too. Their images inspire. Instruct. Give hope.