Photographer premiered March 18 on Nat Geo.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT National Geographic’s new series Photographer turns the focus on those who would typically be on the opposite side of the lens. The six-part endeavor devotes one episode each to a photographer at the top of their game, featuring Paul Nicklen and Christina Mittermeier, Anand Varma, Krystle Wright, Campell Addy, Muhammad Muheisen, and Dan Winters.
Dan Winters: The pitch was a little bit drawn out. It was an initial, “Would you be interested in talking to us about it?” and we had a conversation. It was more of an overview, and then it went away for a little while, and then it came back as like, "Are you guys going to be in New York anytime soon?" I think there were two conversations by phone, and then it was in person in New York.
Winters Explains The Detail Involved In Photographing Rocket Launches I know a musician who told me he doesn't always like to learn a song before he records it because he likes finding magic in the discovery. When you're photographing for NASA and Artemis, how much do you want to learn about the projects? You capture such beautiful, almost human-esque portraits of these inanimate objects.
Dan Winters: I don't remember how it's framed in the film about things not going the way they were planned. I know there was an initial conversation about going to Chittagong because I wanted to shoot ship breaking, and then we realized every ship breaking operation in the world—there are four of them—was like a no go. They're violating international law on environmental issues, et cetera. All of them are, and I know that they don't want the word put out.
My dad was a welder and I grew up helping him weld, and that was a big part of my life and the blue collar household that I grew up in. I felt very at home in that environment. I felt like it transcended race, borders, ethnicities, culture, and all of those things. I didn't feel like I was going there to exploit anybody. I was going there to celebrate these people that are nameless on the world stage.
But people that aren't in front of the camera struggle more, I find. Although I'm amazed at how natural some of these people were in Bangladesh that we're shooting. They were just really malleable. It was very easy to direct them. I don't know what it was about them. Specifically the people in Bangladesh, I found this really comfortable, open-hearted, receptive take on the process of being photographed.
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