All-Time Great Photographers | 60 Minutes Full Episodes

19 Oct 2024 (2 days ago)

James Nachtwey (11s)

James Nachtwey is one of the greatest war photographers of all time, covering nearly every armed conflict in the world over the last four decades, and has been shot, wounded, and injured multiple times while on assignment (18s).
At 75 years old, Nachtwey is still risking his life to capture images that may be difficult to look at but are important to never forget, revealing the deepest and often disturbing depths of human nature (50s).
Nachtwey believes that photographs can speak and give voice to marginalized people who are silenced and made invisible by those in power, serving as a kind of messenger (1m12s).
He has devoted his life to telling other people's stories, bearing witness to their suffering and sacrifices, and documenting the insanity of war, covering conflicts in Afghanistan, the Middle East, Bosnia, and Rwanda (1m39s).
Nachtwey views his camera as a tool for fighting for peace and against injustice, informing people about the reality of war with the faith that they will want something done about it (2m6s).
In Ukraine, Nachtwey worked for The New Yorker magazine, capturing images of the brutality and atrocities committed by Russian troops, including the execution of civilians in Bucha (2m26s).
Nachtwey believes that the Russian military stands apart in its behavior, not only in Ukraine but also in Chechnya, where he witnessed relentless bombardment of the city of Grozny in 1995 and 1996 (2m47s).
Nachtwey's photographs often capture the human side of conflict, including moments of terror, heroism, and quiet acts of compassion, and he is particularly conscious of the expressive power of hands and eyes in his images (4m11s).
Nachtwey's approach to photography involves capturing split seconds of reality, often while running and trying to make a composition, get the shot in focus, and catch the moment (4m2s).
A traveling exhibition called "Memoria" features 67 stunning images, including photographs of orphanages in Romania in 1990, which helped reveal the shocking squalor and neglect in Romania's state-run orphanages (4m49s).
The photographs, published in the New York Times magazine, helped lead to an international effort to rescue the children and were taken by the photographer, who was moved by the look in the eyes of a three-year-old child (5m13s).
The exhibition also features casualties of war, including a family mourning in Bosnia, a father protecting his wounded daughter from gunfire in El Salvador, and a survivor of a machete attack in Rwanda (5m22s).
The photographer approached the survivor slowly, made eye contact, and showed him the camera, and the survivor allowed him to take the picture, even turning his face towards the light without being asked (5m37s).
The photographer believes it's essential to get permission from the people he photographs, especially in situations like this, and wants them to feel like they're part of what he's doing (5m51s).
The photographer admits to getting angry when seeing innocent people being pushed around and bullied but channels his anger into his pictures, which he believes have both anger and compassion (6m13s).
The photographer was inspired by Larry Burroughs' photographs in Vietnam, which opened his eyes to the power of pictures, and started taking pictures by creating his own assignments and practicing (6m53s).
He landed a job at the Albuquerque Journal in 1976 but didn't feel ready to photograph armed conflict until 1981, when he bought a ticket to Belfast, Northern Ireland, where riots and street battles were escalating (7m30s).
His photographs from Belfast were published by Newsweek magazine, and he felt like he was documenting history as it was happening, which was an exciting feeling (7m58s).
The photographer's unflinching coverage of the Civil Wars in Central America in the 1980s cemented his reputation and earned him a contract with Time Magazine, where his work appeared for the next 34 years (8m20s).
James Nachtwey is a renowned photojournalist who covered the violent end of Apartheid and the birth of a new democracy in Africa in the early 1990s, where he narrowly escaped being killed by a bullet that grazed his hair (8m57s).
Nachtwey believes that the risks he takes are worth it for the job itself, not just for any one image, and that he made a commitment to put himself at risk to do his work (9m18s).
He made a personal sacrifice by choosing not to have a family, realizing that he wouldn't be a good father or husband if he pursued his career (9m32s).
Nachtwey's life's work, nearly a million images, has been acquired by Dartmouth, including his coverage of the opioid epidemic in the US and the morning of September 11th (10m0s).
On September 11th, Nachtwey was just blocks away when the towers were hit and captured the horror of the day, including a photo of a small Roman Catholic church with a cross on top, which he used to frame the cultural difference between the attackers and the victims (10m16s).
Nachtwey's decades of close calls have taken a toll on his health, including damaged hearing and grenade shrapnel in his knees, stomach, and face, but he has no plans to retire (11m11s).
Despite the risks and challenges, Nachtwey still finds reasons to hope in his camera's viewfinder, capturing images of joy and transcendence, such as a photo of Nelson Mandela on the eve of his election as South Africa's first black president (11m29s).
Nachtwey's work also shows the innocence and resilience of children, as seen in a photo of South African children playing on a trampoline, which he took to capture the feeling of transcendence and joy (11m47s).
Ultimately, Nachtwey's work shows that humans are capable of transcending their circumstances and themselves, committing both terrible acts of brutality and stunning acts of kindness and caring (12m12s).
Nachtwey is not optimistic about the human species, but he believes that in horrible situations, everyday citizens can do remarkable things for each other, giving him hope for humanity (12m28s).
Mothers and fathers are considered heroes due to their selfless actions for their children, particularly in challenging situations where they have limited resources. (12m49s)
These parents demonstrate remarkable protection and generosity towards their children, often offering what little they have to strangers in need. (12m54s)
The selflessness and kindness displayed by these parents in difficult circumstances serve as a powerful reminder of the inherent goodness in people. (13m7s)

Joel Sartore (13m20s)

Joel Sartori, a National Geographic photographer, is on a mission to photograph every species of animal, bird, fish, reptile, and insect in captivity, with the goal of igniting conservation efforts to prevent extinctions, as scientists estimate that half of the species alive today could be extinct by the end of this century (13m28s).
Sartori's project, called the Photo Ark, aims to take pictures of what we are losing, and he travels to zoos around the world to achieve this goal (13m52s).
To capture the perfect shot, Sartori uses a pop-up studio with either a black or white background to eliminate distractions and create a direct connection between the animal and the viewer (15m44s).
Sartori spends half the year traveling and works long hours in challenging conditions, such as stifling humid heat, to photograph animals that are often frustrating and sometimes dangerous (15m23s).
One of the animals he photographed was a Luzon Warty Pig, found only on a few Philippine Islands, which has sharp tusks and a mean temper (16m15s).
In contrast, Sartori also photographed Trixie, a sweet and calm orangutan, who posed in front of a white background and even lay down on the ground for a shot (17m11s).
Sartori believes that if people can see the beauty of these animals, they will care about their existence and want to help conserve them (15m14s).
He estimates that 90-95% of the species he photographs are things that nobody will ever know existed if it weren't for the Photo Ark (15m2s).
A photographer is discussing the qualities that make a great picture, emphasizing the importance of emotion and eye contact, particularly in capturing the eyes of the subject, as humans are primates and highly responsive to eyes, (18m28s).
The photographer, Joel Sartori, is shown taking pictures of a white-crowned hornbill, which posed like a pro, unlike his first attempt to shoot this species in the States, (18m43s).
Sartori is also shown trying to take a picture of a bird, but the bird attacks him, and he gets bitten, (19m10s).
In another attempt, Sartori tries to take a picture of a red rat snake, but it keeps attacking, and fortunately, it's not venomous, (19m33s).
However, the next snake he tries to photograph is extremely venomous, a palow and spit cobra that can blind if it spits in the eye, and Sartori wears goggles for protection, (19m50s).
Sartori is able to get close to the cobra and take a picture, and he explains that the cobra's hood is a reaction to their presence, making it look bigger, (20m5s).
Sartori has a space prepped in zoos where he can shoot more than 20 species in one day, which would take several days to achieve in the wild, (20m21s).
Some species can only be found in zoos due to vanishing natural habitats, and zoos have captive breeding programs for rare animals, which contributes to conservation efforts, (20m34s).
Sartori spent 16 years at National Geographic, taking pictures in the field, scoring numerous magazine covers, and enduring hardships, including a challenging experience on Alaska's North Slope, (20m51s).
Sartori came up with the photo ark idea after his wife developed breast cancer, and he was grounded at home for a year, which made him appreciate the limited time he has and want to use his life for something worthwhile, (21m22s).
The photo ark is a desperate effort to use his life to save nature, inspired by the biblical story of the ark saving all creatures on Earth, (21m52s).
Joel Sartori's photographs can reach a large audience through social media platforms like National Geographic's Instagram and Facebook, allowing him to share his work with over a hundred million people and raise awareness about endangered species (22m11s).
Sartori's latest pictures have been published periodically and have appeared on the Empire State Building and the Vatican, including the side of St Peter's Basilica (22m25s).
Sartori traveled to the Philippine island of Negros, where vast forests were cut for timber, leaving less than 5% of the original forest and robbing wildlife of vital habitat (22m36s).
On the island, Sartori photographed a critically endangered Visayan warty pig, a species found only in Negros, which was saved from a hunter's snare and is helping to save her species (22m50s).
Sartori's daughter, Ellen, accompanied him on the trip and expressed admiration for her father's work, despite his frequent absences from home (23m10s).
Sartori believes that every animal, regardless of size, deserves equal attention and voice, which is why he photographs both small and large species (23m50s).
He has photographed over 8,255 species in 12 years, with the goal of documenting as many species as possible before they become extinct (25m17s).
Sartori has also photographed a beetle the size of a grain of rice and the last member of a now-extinct species, the blast rabs Fringe limb frog (23m44s).
Despite the sadness that comes with documenting extinct species, Sartori's work inspires him to continue his mission to raise awareness about biodiversity and the importance of conservation (24m34s).
Sartori's office features a display of photographs showcasing the diversity of species, including rodents, parrots, primates, and amphibians (24m44s).
At 55 years old, Sartori acknowledges that time is running out, but he hopes that his life's work will have made a positive impact on the world (25m34s).

Thomas D. Mangelsen (25m54s)

Tom Mangelsen is a 72-year-old photographer who has spent his life capturing images of wild and endangered animals in their natural habitats, often traveling to remote and inhospitable places (25m55s).
Mangelsen has been venturing into the wilderness with his camera for nearly 50 years, and the amount of time he has spent waiting for the perfect shot is incalculable (26m17s).
Despite the long waiting periods, Mangelsen's patience has paid off, and he has captured spectacular images of animals such as grizzly bears, cheetahs, and butterflies (26m49s).
Mangelsen's photographs tell a story and have documented species like mountain gorillas, black rhinos, and jaguars, which are now in danger (27m4s).
He has built a reputation on his patience and has captured images of animals in their natural habitats, rather than in game farms or controlled environments (27m19s).
Mangelsen has a preference for photographing dangerous animals and has taken risks to capture images of animals such as Bengal tigers and polar bears (27m35s).
His photographs are often mistaken for paintings, and he has sold them through galleries since the 1970s (28m22s).
One of his most famous photographs, "Catch of the Day," is considered one of the most iconic wildlife photographs in the world and was taken in 1988, before the existence of Photoshop (28m30s).
Mangelsen shuns the use of digital manipulation and only documents animals in their natural habitats, rather than using captive animals or editing his images (29m3s).
He believes in capturing the "decisive moment" and has spent years perfecting his craft, often waiting for hours or even days for the perfect shot (28m51s).
Mangelsen's approach to photography is unique, and he continues to capture stunning images of wild animals in their natural habitats (29m21s).
Wildlife photographer Tom Mangelsen spent 42 days waiting to capture a shot of a wild female cougar, which helped launch a movement to protect the cats against human encroachment (30m16s).
Mangelsen's photograph of the cougar, taken in 1999, was among the first to document the life of a wild female cougar (30m40s).
Mangelsen credits his father with instilling in him a love of the wild, which he developed growing up on the bank of the Platte River in Nebraska (31m53s).
As a teenager in the 1960s, Mangelsen earned the title of world champion goose caller, a feat considering the Platte River is home to 400 species of birds (32m5s).
Mangelsen has shared his knowledge of the Platte River with his friend Jane Goodall, and together they raise money and awareness for the protection of cranes, chimpanzees, and cougars (32m53s).
Mangelsen has chronicled the life of a 22-year-old female grizzly bear, known by the research number 399, for over a decade, capturing every facet of her life, from emerging from hibernation to giving birth to triplets (34m45s).
Mangelsen uses his passion and commitment to wildlife photography to inspire others and raise awareness about the importance of protecting these animals and their habitats (34m3s).
Mangelsen's photographs, including those of 399, have helped to tell the story of America's wild past and the importance of conservation efforts to protect these animals (34m35s).
Thomas Mangelsen's photographs have made 399, a grizzly bear, the most famous in the world, with images like the one he dubbed "an icon of motherhood" showcasing her nursing and protecting her cubs (35m0s).
The combination of wildness, rarity, and intelligence in grizzly bears captures people's imagination, with 399 displaying smart behavior like looking both ways before crossing the road and instructing her cubs to stay on one side (35m17s).
Mangelsen's portraits of grizzly bears reveal their personalities, but also highlight the importance of their habitat for survival, which is often overlooked in favor of close-up shots (35m45s).
Mangelsen believes that seeing a grizzly bear in person can change one's life, and he took the crew to witness a female grizzly resting just off the road, showcasing her natural behavior (36m10s).
A third of 399's offspring have been killed in interactions with humans, and the federal government's removal of grizzly bears around Yellowstone from the endangered species list has led to discussions about opening a hunting season (36m38s).
Some hunters have expressed a desire to shoot 399 due to her fame, which Mangelsen finds hard to believe, and he is determined to show the beauty and fragility of grizzly bears to raise awareness and promote preservation (37m9s).
Mangelsen's goal is to give people a reason to preserve what is left of the wilderness and species like grizzly bears, and to make them think about the importance of conservation for future generations (37m30s).

JR (37m59s)

A giant photograph of a child appeared near the US-Mexico border in San Diego, which was the work of artist JR, who is known for his large-scale public photographs that have appeared in over 140 countries, often displayed illegally on sidewalks, subways, buildings, and rooftops (38m0s).
JR's photograph of a 64-foot-tall picture of a Mexican child named Kikito was displayed on scaffolding on Mexican soil, making it impossible for US border patrol agents to remove it (38m42s).
JR has been creating large-scale public photographs for 14 years, displaying the faces of everyday people in public places, such as rooftops in a Nairobi slum, New York sidewalks, and Istanbul buildings (39m11s).
JR often displays his photographs without permission and at risk of being arrested, as seen in Tunisia during the Arab Spring, where he pasted his pictures in a looted police station (39m30s).
JR's real name is unknown, and he prefers to remain anonymous, wearing glasses and a hat in public, which has helped him in countries where his art is not well-received (39m51s).
JR is 35 years old and was born in France to Tunisian immigrants, and he has been arrested, deported, and jailed in several countries for his art, which is considered a jailable offense in some places (40m5s).
JR started creating graffiti as a teenager, which was his way of saying "I exist," but he eventually transitioned to photography after finding a camera in the subway (40m58s).
JR's photography career began by documenting his friends' graffiti journeys, which eventually led him to create his own large-scale public photographs (41m36s).
Jr, a photographer, began taking pictures of his friends in a Paris suburb, who felt they didn't exist in the eyes of French society, as most of them were of African or Arab descent and first or second-generation immigrants. (41m51s)
In 2005, riots broke out in the neighborhood after two kids died while being chased by police, and Jr decided to use his camera to tell a different story about the young people in the suburb. (42m11s)
Jr photographed the young people from close up, including their names, ages, and building numbers, and pasted the pictures in Paris to show that they were not monsters, but human beings. (42m37s)
By playing with the stereotype of the "monster," Jr aimed to break it and give the young people control over their own image, and to make people in Paris understand their humanity. (42m50s)
Jr enlarged the pictures, printed them out, and pasted them up illegally at night around Paris with friends, but most were immediately taken down. (43m7s)
The mayor of one Parisian district gave Jr permission to paste the pictures on a wall outside a museum, which became Jr's first official public art exhibit at the age of 23. (43m20s)
People from Paris would take photos with the pictures, trying to find out who was who, and the exhibit helped to break the tension between the suburb and the rest of Paris. (43m31s)
Jr's experience with the exhibit led him to realize the power of photography in breaking tension and stereotypes. (43m44s)
In 2007, Jr traveled to Israel to paste photographs on the wall separating Palestinians and Israelis in the West Bank, with the goal of showing people on both sides that they were not so different. (43m53s)
Jr's plan was to paste photographs of people doing the same job on both sides, but he was met with resistance and skepticism from individuals on both sides, who believed the other side would not accept the project. (44m12s)
Before Jr could begin pasting the photographs, he and his team were arrested by Israeli authorities for not having a permit, but they were later released and given 15 days to leave the country. (44m35s)
Instead of leaving, Jr went to the Palestinian side of the wall and began to paste giant photos of a taxi driver from each side, which sparked a crowd and led to a moment of realization that people could not recognize their "enemies" or "brothers." (44m56s)
A photographer, referred to as Jr, received significant attention for his work in the Middle East and France, which led to sales of his photographs and allowed him to travel further to countries such as Kenya, Liberia, and Sierra Leone (45m39s).
In these countries, Jr focused on photographing women heroes who are often treated as second-class citizens, and he placed their images in public spaces where they could no longer be ignored (45m54s).
A Kenyan woman named Elizabeth Kamonga asked Jr to paste her picture in a public space, saying "make my story travel, have my eyes travel around the world" (46m6s).
Jr pasted Elizabeth's eyes onto a container ship called the Mellin, which spent months at sea, allowing her story to travel thousands of miles around the world (46m26s).
In 2008, Jr ventured into Providencia, a favela in Rio controlled by a well-armed gang of drug dealers, where he photographed an elderly woman whose grandson was murdered by a rival gang (46m34s).
The woman agreed to let Jr paste her image on the stairs leading into the neighborhood, and despite initial violence and crossfire between police and gang members, Jr and his team continued the project (46m49s).
The project helped the community realize that Jr was not just there for a short time, and after the first woman's photo was pasted on the stairs, other residents allowed Jr to post their faces and eyes on the sides of their homes (47m36s).
Jr believes that dignity is important for everyone, regardless of background, and that it is tied to the way people are seen and portrayed by others (48m1s).
Jr pays for his projects through the sale of limited edition prints of his work and with the help of wealthy art patrons, but he does not accept sponsorship from corporations (48m33s).
Jr refers to his art patrons as "shadow philanthropists" who support him without seeking credit or return (49m1s).
JR is a photographer who has gained celebrity status with over a million followers on Instagram and often associates with rock stars and artists. (49m25s)
A documentary JR directed, called "Faces Places," was nominated for an Oscar, contributing to his fame. (49m36s)
JR's fame has allowed him to display his work more openly, rather than sneaking around to create it. (49m41s)
JR recently worked on a project on Ellis Island in New York Harbor, where the National Park Service helped him paste old photographs of immigrants at an abandoned hospital. (49m50s)
JR's goal is to raise questions through his work, rather than provide answers, and he encourages others to do the same by pasting their own photographs. (50m2s)
JR has a website where groups can send in their pictures, and he will enlarge, print, and ship them back to be displayed. (50m14s)
JR's inspired images have been pasted on walls in dozens of countries worldwide. (50m28s)
JR views himself as an artist, but also acknowledges his role as a printer and a person who decorates buildings with his work. (50m39s)
JR believes the title of "artist" is the most prestigious title he can have, as it encompasses his various roles. (50m53s)