Speaker 1: Snapping pictures. We do a lot of that, pictures of everything.
Speaker 1: The world is awash in images. My cloud is crowded
Speaker 1: like yours. Probably some of the pictures were really proud of.
Speaker 1: Most we forget about or delete. I've taken a thousand sunsets,
Speaker 1: maybe five thousands of animals in Africa. I've been a
Speaker 1: photo of hobbyist since the days of film. I got
Speaker 1: dozens of little plastic boxes filled with snapshots sitting in storage.
Speaker 1: But I've always had a real passion for what true
Speaker 1: artists can capture through a lens. Like my friend and guest,
Speaker 1: world renowned fine art photographer David Yarrow. His work is spectacular, intimate, immersive, visceral,
Speaker 1: whether he's capturing wildlife, landscapes, or humans. Tom Brady is
Speaker 1: a huge Yarrow fan. He wrote the foreword to David's
Speaker 1: book of Breathtaking Pictures. Brady says David's work makes him
Speaker 1: feel awe, humility, reverence for how beautiful the world is.
Speaker 1: David is a gifted storyteller through his art, but he's
Speaker 1: also a great storyteller about how the pictures were created.
Speaker 1: So I've got an idea to help you enjoy the
Speaker 1: conversation even more. Go to David Yarrow dot photography A
Speaker 1: spells It Why a r r ow. You can use
Speaker 1: your phone or ideally a bigger screen and you'll be
Speaker 1: blown away by the quality and breadth of his work.
Speaker 1: And David's going to share stories about how some of
Speaker 1: his best pictures were made. They're all on the site
Speaker 1: and you can search titles like Dexter of a Hippo, Hello,
Speaker 1: a polar Bear, Shot, the Killers, and others. David also
Speaker 1: tells stories about working with Russell Wilson and cr in
Speaker 1: a wild West setting, Cindy Crawford, recreating an iconic Super
Speaker 1: Bowl commercial, and paying tribute to classic scenes in The
Speaker 1: Wolf of Wall Street and You're the end of the
Speaker 1: episode as a story about a man, the sea and
Speaker 1: an orca that takes the most surprising turn of any
Speaker 1: story ever told on this podcast. We out of our
Speaker 1: conversation where David started in sports photography as a twenty
Speaker 1: year old straight out of Scotland. He took one of
Speaker 1: the most powerful pictures of sports celebration ever, one that
Speaker 1: launched his career, Diego Maradonna raising the World Cup trophy
Speaker 1: in Mexico City. Six. Yeah, I mean I looked back.
Speaker 1: I never thought then that um My Guinness, fifty five
Speaker 1: years on from there, I'd be having this conversation about it.
Speaker 1: Um I hadn't taken many good pictures in the World Cup.
Speaker 1: I was too young. I hadn't had enough experience. It
Speaker 1: was the days when cameras didn't have ato focus. He
Speaker 1: had followed focus and I was just a bit green.
Speaker 1: But raw couldn't cope with the high sun, which I loved.
Speaker 1: The games were at twelve o'clock Mexican time or three o'clock,
Speaker 1: but I got lucky at the final whist, so I
Speaker 1: thought the only way I was going to get a
Speaker 1: picture was to leave all my other cameras behind the
Speaker 1: goal and just go with a very small, wide angle.
Speaker 1: I was slimmer, fitter that I am now, and I
Speaker 1: could get very close to Maridonna, and just at the
Speaker 1: key moment he looked right at me. He was on
Speaker 1: the shoulders of another player. Tons of argentineans on the pitch.
Speaker 1: It was total chaos. You'll never have something like that
Speaker 1: again after any six because fans won't be allowed onto
Speaker 1: the pitch. It's a bit like in the Gulf. You
Speaker 1: remember when they finished an open when the players went
Speaker 1: through the played their second shot to the eighteenth. There
Speaker 1: was a massive charge of spectators, and then the winning
Speaker 1: player would make his way rather biblically through the first
Speaker 1: row of the crowd. And I think that still goes
Speaker 1: on a little bit, but it's more orderly than it
Speaker 1: used to be. This was total disorder, chaos, and I
Speaker 1: just got lucky. But I was in the position to
Speaker 1: take the picture, and I had the right lens, which
Speaker 1: was a wide angle, I think a thirty five mill
Speaker 1: so I had the contextual narrative of the stadium behind
Speaker 1: and Maradonna. Um, if it was just Maradonna in the Cup,
Speaker 1: there wouldn't be a picture. If it was just the stadium,
Speaker 1: the biggest stadium in the world, I think then without Maredonna,
Speaker 1: there wouldn't be a picture. It's the coalescing of those
Speaker 1: two variables, the two layers put it together, and the
Speaker 1: fact that he was looking right at here. You said biblical,
Speaker 1: that's a perfect description. He's standing there, arms raised like
Speaker 1: a god, the World Cup trophies in one hand, just
Speaker 1: at the same level as I think the flags that
Speaker 1: are ringing the top of the stadium, and it's just
Speaker 1: it's a composition. You couldn't have have stage any better
Speaker 1: than that. And yeah, above this massive humanity, there's his
Speaker 1: face and your lens and it's directly in front. And
Speaker 1: I would encourage people to seek that out because now
Speaker 1: that he's passed um, his legend has only grown. But
Speaker 1: to have that moment a pinnacle of one of the
Speaker 1: great soccer careers ever and be able to capture that
Speaker 1: and you're right. Decades later, people still refer to that picture.
Speaker 1: I was on a plane the other day before COVID
Speaker 1: and in the Maradonna movie they use that picture and
Speaker 1: I had no idea here that they used it in
Speaker 1: the movie. And I was I get more emotional on
Speaker 1: planes and I do on land like a lot of people.
Speaker 1: And I started to get a little bit emotional scene
Speaker 1: my picture. So I have no one to tell. And
Speaker 1: I called the stewardess over with the bustom and she
Speaker 1: thought I wanted a whiskey or whatever, and I was
Speaker 1: getting that's my picture, and there's a lunatic and see
Speaker 1: B sixty one or whatever, and you're allowed to brag,
Speaker 1: that's beautiful. One other sports photograph that is very different
Speaker 1: from the chaos and the confusion of Azteca two. The
Speaker 1: Gentility of a porch at Augusta National. Gary Player was
Speaker 1: a dear friend of yours. There's a photograph with Arnold Palmer,
Speaker 1: Jack Nicholas and Gary Player in their Master's Champion green
Speaker 1: jackets on this very elegant looking porch and I think
Speaker 1: they're in rocking chairs maybe, And and that was pretty
Speaker 1: close to the time when Arnold Palmer passed. It is
Speaker 1: one of the last pictures captured of him. So what
Speaker 1: an incredible moment that must have been. It was. I'm
Speaker 1: not prone to nerves. I've been very fortunate to me
Speaker 1: to let you a lot of extraordinary people in my
Speaker 1: life and and through my art sit down and have
Speaker 1: conversations with people that I would never expect it. And
Speaker 1: I think that was one of the few occasions that
Speaker 1: I've been a little bit nervous because you had the
Speaker 1: kind of Mount Rushmore of golf, you know, that area
Speaker 1: of Augusta behind the eighteen well, and there must have
Speaker 1: been five people watching me take the picture. Um, but
Speaker 1: typical of Gary, he only told me about forty five
Speaker 1: minutes beforehand that I was going to be taking the picture,
Speaker 1: and I had the wrong lens and I had no
Speaker 1: time to go and change my lens, so I couldn't
Speaker 1: get them to move backwards. You can't tell Arnold Palmer
Speaker 1: to move his seat back. So I was stepping further
Speaker 1: and further back, and then I fell into the hedge,
Speaker 1: and because I didn't see what was behind me. And
Speaker 1: I think it's fair to say that, and I mean
Speaker 1: this with the hugest amount of respect to Jack Nicholas,
Speaker 1: but he's had his picture taken enough and I can't
Speaker 1: understand why another picture by another photographer might know fill
Speaker 1: in with the joys of spring. But that's why he's
Speaker 1: that's why he's smiling. It's because he's just seen me
Speaker 1: fall into the back of the hadge, because whatever it
Speaker 1: takes me. But if you have to take a prat
Speaker 1: fall to get your subject to loosen up. What's amazing
Speaker 1: about that picture, and it's true of a lot of
Speaker 1: your work, is that there's such intimacy in that image,
Speaker 1: even if it's hastily taken in less than ideal lends.
Speaker 1: There's such an intimate connection to the subject. And yet
Speaker 1: you'd never know there were five hundred people breathing down
Speaker 1: your neck as you took it, And and That's what's
Speaker 1: so remarkable about a lot of your great images that
Speaker 1: will get into the wildlife is just the intimacy that
Speaker 1: that absolute visceral connection between the person looking at it
Speaker 1: and the subject. Yeah, I mean you're kind to say that.
Speaker 1: If if someone asked me who is my favorite film director,
Speaker 1: was it's quite easy in the Spielberg And then there'll
Speaker 1: be so many others would come after Spielberg. And why
Speaker 1: because he's the most emotionally invested film director, um, And
Speaker 1: there's a lot of others that are very emotionally invested.
Speaker 1: Photography is all about emotion, and in order to elicit
Speaker 1: emotion in others, I think you have to have a
Speaker 1: degree of immersion um and that tends to often come
Speaker 1: from proximity. It's quite difficult to make people emotional about
Speaker 1: things if the distance between the camera and the subject
Speaker 1: matter is a long way. There are there are the
Speaker 1: examples that disproved that rule. When when Jack Nicholas himself,
Speaker 1: You'll remember when when he won his last Masters and
Speaker 1: he sunk that big part at seventeen and he raised
Speaker 1: his putter and his head wearing the yellow shirt. That's
Speaker 1: quite an emotion shoot picture. And I know if you
Speaker 1: the you know a few of the people that got
Speaker 1: that picture. Um, but I was taking with a long lens.
Speaker 1: It's quite difficult generally when you're far away to to
Speaker 1: be able to convey that. And that's why I don't
Speaker 1: tend to work with low lens is too much. Yeah,
Speaker 1: I could geek out on the photography aspect of this
Speaker 1: because I'm a hack hobbyist, but I do love it.
Speaker 1: I will indulge myself on that and and and risk
Speaker 1: losing the attention of other people. But that is the
Speaker 1: problem when you when you shoot pictures of dangerous, large
Speaker 1: wild animals, it's tough to get close. And we do
Speaker 1: tend to take the pictures from far away, and that's
Speaker 1: what sets apart the shots you take on vacation versus
Speaker 1: the beautiful ones that sell for a lot of money
Speaker 1: that you take. But yeah, we'll get into some of
Speaker 1: the stories because to get close, to get low, to
Speaker 1: get eye level, to get access not only takes a
Speaker 1: hell of a lot of preparation and planning and money.
Speaker 1: In some cases, it takes a lot of balls to
Speaker 1: put yourself in a harm's way, in your cameras in
Speaker 1: a harm's way to do it yeah. I mean, I've
Speaker 1: been doing it a long time, and what I do
Speaker 1: know is that it's become harder now to do some
Speaker 1: of the things that I've done over the last six
Speaker 1: or seven years. Not because I was in any way
Speaker 1: doing things that are unethical, but the whole issue of
Speaker 1: invading animal space and there their way of life is
Speaker 1: an issue that's being brought up in the very same
Speaker 1: way that so many issues we never thought about three
Speaker 1: or four years ago are being brought up. Um and
Speaker 1: um I am. I've got mixed feelings about it. I
Speaker 1: think it's gonna be tougher for other people going forward
Speaker 1: to use remote controls in case the animal steps on
Speaker 1: the remote control. Forget about the camera, what happens if
Speaker 1: it hurts its foot, What happens if an animal charges
Speaker 1: a jeep. Don't worry about the people in the jeep,
Speaker 1: but if the animal does damage to himself by charging
Speaker 1: the GM um. So I'm very conscious, increasingly conscious these days,
Speaker 1: of setting a standard, and I guess I'm there to
Speaker 1: be shot at metaphorically because people rightly or wrongly see
Speaker 1: what our brand and maybe maybe I'm there to set
Speaker 1: set standards. Um. But if you work with the right
Speaker 1: people on the ground, and we do tend to um.
Speaker 1: You can get close legally, you can get on the ground.
Speaker 1: It's all about homework and and if you work with
Speaker 1: the right people, everything is possible. I in in in
Speaker 1: fifteen years. All my dangerous moments, Chris, have always been
Speaker 1: with people, never with animals. The moments I've felt for
Speaker 1: my life have always been with people, because people can
Speaker 1: do three things that animals can't do. They can get drunk,
Speaker 1: they can get high, and they can buy a gun.
Speaker 1: And it's the best of my knowledge, animals can't do
Speaker 1: any of those three things. So when people ask me
Speaker 1: you're you, You've you've been cavalier, You've you've put you
Speaker 1: put yourself in harm's way. I can't think of an
Speaker 1: occasion with an animal um I've had. I've had bears
Speaker 1: standing over me in Alaska in the summer, but they've
Speaker 1: eaten salmon over the last twenty four hours. They're not
Speaker 1: in the least bit interested in me. UM. But if
Speaker 1: you had that same situation before that, before the salmon run,
Speaker 1: you'd be in a different maybe a different dynamic. So
Speaker 1: just go during the salmon run. For sure, you have
Speaker 1: to have the knowledge you have to have local experts.
Speaker 1: You have to have the ability to figure out when
Speaker 1: an animal is the most dangerous and not dangerous. I
Speaker 1: don't know, I might take issue with that. Have you
Speaker 1: seen some of your videos. Um, You're in a tiny,
Speaker 1: shitty little canoe in this Embasie River, which is a
Speaker 1: beautiful river to raft in, but it was also filled
Speaker 1: with crocks and hippos, and you're going after Dexter the hippo,
Speaker 1: and it's very difficult to shoot hippos. They're kind of shy,
Speaker 1: their their ornery. They're these big, dark animals that spend
Speaker 1: most of the time underwater, and canoeing around hippo laden
Speaker 1: waters seems pretty damn dangerous to me. He ended up
Speaker 1: getting this amazing shot by laying on the bank and
Speaker 1: getting kind of an eye level shot as he takes
Speaker 1: his big giant head out of the water, but it
Speaker 1: seemed a little dicey to get. I have to confess
Speaker 1: the animal that scares me the most is the hippo. Um.
Speaker 1: I am petrified of hippo's So I got charged a
Speaker 1: few times in Tanzania, and they can't run quicker than you,
Speaker 1: and I think they do kill more people than any
Speaker 1: other animal in Africa. Um, but Dexter, he doesn't know
Speaker 1: he's called Dexter. But Dexter is a bit of a bluffer.
Speaker 1: He gives you a couple of chances. And it's like
Speaker 1: if you know, if you're playing poker with Dexter, you
Speaker 1: know what cards he's got in his hand to begin with.
Speaker 1: How do you know what's in the mind of a hip.
Speaker 1: I mean, yes, you're with the guy that is familiar
Speaker 1: with him. But ultimately, humans we always think we can
Speaker 1: read this animal, we know how he's going to behave
Speaker 1: because we we have an acquaintance with him. I mean,
Speaker 1: and that's you're playing their percentages, right. I mean, ultimately
Speaker 1: you don't know what a particular lion or tiger or
Speaker 1: hippo is going to do when you get pretty damn
Speaker 1: close to him. Trust isn't It is such a short word,
Speaker 1: but trust is the foundation on which I've built so
Speaker 1: many of our assignment. Trust in humans or animals are both.
Speaker 1: You're trusting the human that in his understanding of the
Speaker 1: animal in question, and we I could get I could
Speaker 1: cite so many examples, Polar bears up in Alaska, where
Speaker 1: the Innuit would say, don't worry about this one. I
Speaker 1: know his parents, you know, and you're going, really, do
Speaker 1: you really know this Polar bears parents? Is he really
Speaker 1: not going to go for me? Well, there's a shot
Speaker 1: you took. I mean, people can go find this shot
Speaker 1: on your website where it looks like you are nose
Speaker 1: to nose with the polar bear. It looks like he
Speaker 1: is so close. I know that's not that's not a
Speaker 1: long lens and his nose is right in the camera.
Speaker 1: That was a picture called hello. We managed to call
Speaker 1: it hello just before Adele called her song Hello. So
Speaker 1: it shows how long ago this picture was taken. But
Speaker 1: I actually managed to take a selfie of myself in
Speaker 1: the polar bears eyes. But so I think it was
Speaker 1: taken with the standard lens. UM. What people don't know
Speaker 1: about that was between me and the polar bear. I'm
Speaker 1: in a tiny canoe and there isn't much evidence of
Speaker 1: polar bears jumping onto canoes. Um and my innunate guide
Speaker 1: who's the boss up there, felt reasonably comfortable with the
Speaker 1: whole thing. He was a he was a four year
Speaker 1: old bear as well, um and more inquisitive than anything else.
Speaker 1: But at the sure works because he's looking head on me.
Speaker 1: You've been on the water taking pictures of sharks as
Speaker 1: another iconic image which is sought after because it is
Speaker 1: appeals to anyone that believes they have a predator inside
Speaker 1: of them. And it's this great white shark with his
Speaker 1: jagged teeth, white open and he's got a seal, a
Speaker 1: fin of his seal actually about to be clamped onto it.
Speaker 1: What watch the story behind that having to get down
Speaker 1: in in the water to to grab that. But that
Speaker 1: was actually take That was in a boat in full spay,
Speaker 1: just around the corner from Cape Town. And from about
Speaker 1: two thousand, two thousand and five to two thousand and twelve,
Speaker 1: I got fascinated with great white behavior in this bay
Speaker 1: where the sharks would come in to attack the seal pups.
Speaker 1: They'd only do it in June July, their winter, and
Speaker 1: then only attack attack breach in the first hour of
Speaker 1: sunrise for reasons none of us know. We we don't
Speaker 1: know why that it's the case. Maybe the lighting makes
Speaker 1: it easier for them to identify the seals. Um And
Speaker 1: I spent about thirty hours in the water waiting for
Speaker 1: this to happen, and every time I took a trip
Speaker 1: down to Cape Town. It might have been about of course,
Speaker 1: and I got nothing. I was coming back with nothing.
Speaker 1: And it's one of the we hear so many of
Speaker 1: these maxims in sports and business about success being failure
Speaker 1: and never quit. But that's my never quit story because
Speaker 1: I think I was probably done, maybe about dollars and
Speaker 1: I haven't got anything. And then my final time that
Speaker 1: I really had an opportunity and it happened. Um. And
Speaker 1: I tell that to people now as the stories. That's
Speaker 1: why a you start off with a lot of failure,
Speaker 1: you must never quit, almost believe in yourself and it
Speaker 1: can be tough, but you've just go to persevere. And
Speaker 1: then about three years ago an Orca killer whale came
Speaker 1: into that area and killed a great white shark. Um
Speaker 1: and the sharks of all god that never appeared there again.
Speaker 1: So I had that one moment in time and then
Speaker 1: wonder whether that will that moment, that decisive moment, will
Speaker 1: ever be captured again because the sharks of all gold
Speaker 1: there used to be about thirty or forty great whites
Speaker 1: around that island. Um uh, but what are from Cape Town?
Speaker 1: And now they're none? Wow. Well, you talked about the
Speaker 1: frustration the patients that it takes. These images and we'll
Speaker 1: get back into your connection with film. They're very cinematic.
Speaker 1: There's a there's a glamour in many of the shots,
Speaker 1: but there's the unglamorous part that goes into it, and
Speaker 1: we won't well on that because people won't rather focus
Speaker 1: on the glamour. But what goes into the getting it
Speaker 1: that kind of image you said, the access being in
Speaker 1: the right place at the right time. You use luck,
Speaker 1: but you have to you have to make your own
Speaker 1: luck and talk about that, but just the the work
Speaker 1: that goes into being ready for that moment when all
Speaker 1: of a sudden you can press them the shudow. Yeah,
Speaker 1: you know, I'm I'm a photographer. I'm not a wildlife photographer.
Speaker 1: I'm just a photographer. Wildlife photography is a very crowded space.
Speaker 1: Anyone can go in non COVID years to Tanzania, to Kenya.
Speaker 1: They can buy a long lens, they can work with
Speaker 1: the right guide. They can be in the right place
Speaker 1: at the right time to capture a decisive moment of
Speaker 1: predation or whatever. And there are a lot of these
Speaker 1: pictures circling the world right now of those kind of
Speaker 1: things and I want to be as far away from
Speaker 1: that as possible. I want to try and do things
Speaker 1: that are authentic, that are different that the world hasn't
Speaker 1: really seen before, or perhaps not in the way that
Speaker 1: I'm photographing it. That's quite a hard task if you
Speaker 1: set the bar that I um to try and transcend.
Speaker 1: That's why I was in Antarctica last week for forty
Speaker 1: five minutes to try and transcend. I failed because of
Speaker 1: things beyond my control. But we'll go back to Antarctica
Speaker 1: next month because it's the Extra Mile. And it's a
Speaker 1: bit of a cliche, but you know, they're saying that
Speaker 1: there are no traffic jams on the Extra Mile. And
Speaker 1: if I go to somewhere where I see ten other photographers,
Speaker 1: it goes back to my days of sports photography. You
Speaker 1: know Center Cord at Wimbledon very very well. It is
Speaker 1: incredibly difficult, no matter how talented those sports photographers are,
Speaker 1: to get a picture of Djokovic or Nadal or Federer
Speaker 1: that the world hasn't seen. The world is swamped with
Speaker 1: those kind of pictures, which is slightly unfair on the
Speaker 1: great sports photographers that they're not seen to be pieces
Speaker 1: of art because you see so many of them knocking around.
Speaker 1: I'm I am. For you to be art has to
Speaker 1: stand out. It can't be common, can have been seen before,
Speaker 1: no matter how well executed. A beautiful wildlife shoine is
Speaker 1: You're you're not interested in that because it's been done before.
Speaker 1: You're looking for something different. Of course, it's not. It's
Speaker 1: not for me to determine what's art or not. Is
Speaker 1: for the viewer to is for the ultimately for the
Speaker 1: collector of the viewer to determine what is art. Um.
Speaker 1: But at the margin um East Africa. Peter Beard does
Speaker 1: some extraordinary work in East Africa. But it was it
Speaker 1: was art, It wasn't too literal. He threw pictures of
Speaker 1: naked girls and threw blood onto He was high blessed
Speaker 1: a lot of the time, which is where his genius
Speaker 1: came from. Um. But I think there has to be
Speaker 1: something that transcends. There has to be something that allows.
Speaker 1: I remember remember speaking to the chairman of the Tape
Speaker 1: Modern in London, and he said, of all the forms
Speaker 1: of arts in the world, the one that leads me
Speaker 1: the most cold is wildlife photography. And I said, why
Speaker 1: is that? He said, I don't don't need to be
Speaker 1: told what a giraffe looks like. I know what a
Speaker 1: giraffe looks like. And there is a danger that wildlife
Speaker 1: photography has become too literal. The only other way you
Speaker 1: get around that is you go, as you were suggesting,
Speaker 1: to places that other people just don't go to. And
Speaker 1: and we do try to go to some places that
Speaker 1: involve a commitment of time money. If we do a
Speaker 1: stage shot working with famous people, are average days production
Speaker 1: cost is a hundred thousand dollars. If we do um
Speaker 1: a shot in the wild, the average production costs is
Speaker 1: maybe a twentieth of that. And what we're trying to
Speaker 1: do is move that second number up to go to
Speaker 1: places that are just a bit more extreme. Uh and
Speaker 1: and involve a little bit more hardship as well. Well.
Speaker 1: Your pictures are not about what a giraffe or any
Speaker 1: animal looks like. The intimacy gives you a near what
Speaker 1: they are like inside. I mean, you can see into
Speaker 1: their soul if it's done properly. I mean, I've got
Speaker 1: pictures behind me here that I took with a long
Speaker 1: lens that what you're referring to them, amahabby. These are
Speaker 1: African cats back here and they're not extraordinary, but they
Speaker 1: just bring back memories and I think that they do,
Speaker 1: and I think that's perfectly okay. If you're trying to
Speaker 1: do what you're doing, that's something different. But but David,
Speaker 1: some of these shots of of of lions or tigers
Speaker 1: from ground level from why you can you and you
Speaker 1: you love wolves because they have I guess expressive eyes
Speaker 1: or there's a there's an intimacy or an element of
Speaker 1: danger menace with them. But the best ones are you're
Speaker 1: seeing into the animal soul. You're not just seeing what
Speaker 1: they look like. The eyes. Eyes are the windows to
Speaker 1: the soul um and uh, if they're true, if that's
Speaker 1: truting a human and probably truting an animal as well,
Speaker 1: other than maybe the polar bear because they're so dark
Speaker 1: that you just don't see anything in the line um.
Speaker 1: But yeah, we were with wolves are very sexy animals
Speaker 1: and they vote a lot of different emotions in world
Speaker 1: was sexy animals. I think because every man wants to
Speaker 1: be a wolf, every woman wants to be wolf esque,
Speaker 1: and it's been used in so many of different films.
Speaker 1: But whatever the film, the word wolf like. We recreated
Speaker 1: some of the scenes in the Wolf of Wall Street. Um.
Speaker 1: Irrespective of the fact it was a black comedy on
Speaker 1: bad behavior and illegal behavior in trading, everyone still wants
Speaker 1: to be that wolf, right, Um, And you go back
Speaker 1: in history wolves Whenever the word wolf was used, it
Speaker 1: was used in a connotation that was probably favorable to
Speaker 1: the wolf. It was never a negative connotation, even though
Speaker 1: it might have evoked in the war, it might have
Speaker 1: evoked thoughts of of of danger dances with wolves. There's
Speaker 1: so many movies where wolves are used in a way
Speaker 1: to conjure up thoughts. So just give you a little
Speaker 1: bit of a shiver down your spine. Well, wolves are
Speaker 1: certainly a part of the lore of Western America. You
Speaker 1: spent a lot of time in the western part of
Speaker 1: this country, including during COVID, driving around from from state
Speaker 1: to state and photographing these breath taking mostly black and
Speaker 1: white images, and wolves seemed to pop up at lots
Speaker 1: of places along with these iconic looking humans. So there's
Speaker 1: a great deal of fun. I would imagine creating these images,
Speaker 1: not capturing something that's there. You're creating it from scratch
Speaker 1: and casting it and and and executing it. Right, Yeah,
Speaker 1: I mean, I'm I'm from Glasgow in Scotland and we've
Speaker 1: got it. We've got an interesting history that goes back
Speaker 1: hundreds of centuries, but I think the second half of
Speaker 1: the nineteenth century in America, it's the greatest story ever told,
Speaker 1: and that is why it's got a film genre also himself.
Speaker 1: That's why Westerns are Westerns, because there is so much
Speaker 1: material and it is a story book that's played out
Speaker 1: against the grandeur of your extraordinary, blessed country. From a
Speaker 1: geological perspective, I've no doubt in my mind that America is,
Speaker 1: from a visual perspective, the most blessed country in the world.
Speaker 1: The problem is it's over photographed. But if you can
Speaker 1: couple the grandeur of Monument Valley or the architectural beauty
Speaker 1: of Chicago, or the just the ridiculously unhinged final Frontier
Speaker 1: towns in Montana, and then you can couple that with
Speaker 1: character rich storyboard, because the seventies, eighteen eighties, eighteen nineties
Speaker 1: had every kind of character, and you throw them into
Speaker 1: that melting pot with the canvases in the background, you
Speaker 1: can't fail. The only thing is that we want to
Speaker 1: do in winter. There's always something used. The word viscero
Speaker 1: or earlier on there's something about the snow that if
Speaker 1: I have to photograph Colorado, do a photograph Colorado in
Speaker 1: winter or summer winter ifing why I mean winter, summer, winter,
Speaker 1: Utah winter, summer winter. Every time I go winter and
Speaker 1: it works. But it does mean that we do find
Speaker 1: ourselves stuck up a man's and in minus thirty degrees
Speaker 1: with very famous supermodels wondering where they're going to spend
Speaker 1: the night. But that's all part of that's so part
Speaker 1: of the of the charm of what we do. Yeah, well,
Speaker 1: you've done whole books on the most remote, in some
Speaker 1: ways uncomfortable places on Earth because you seem to find
Speaker 1: great beauty in that kind of discomfort, great great profundity,
Speaker 1: and and being off the beaten path and and away
Speaker 1: from creature comforts and and looking for those those pictures
Speaker 1: that capture something moody danger. I mean, you know, you
Speaker 1: don't seem to seek out the bright sunlight and the
Speaker 1: perfectly blue sky and all those kinds of the settings
Speaker 1: for the picture. Oh no, you don't want you don't
Speaker 1: want good weather, you want bad weather. But it's it's
Speaker 1: kind of here because why, I think it just adds
Speaker 1: to the extra dimension you know when when people wake
Speaker 1: up in the morning and they pulled the curtains and
Speaker 1: this blue sky and you go, what a beautiful day
Speaker 1: to take pictures. I'm going, No, what a dreadful day
Speaker 1: to say pictures. You wanted to be? You wanted to
Speaker 1: be Green Bay in the playoffs in January, That's that's
Speaker 1: what I want. I went up to I've covered a
Speaker 1: game up there in the playoffs, and I wanted it
Speaker 1: to be so cold and blowing snowing. And I was
Speaker 1: on the pitch. Wasn't there a game, a famous game
Speaker 1: out there? And they called it something the ice storm? Yeah,
Speaker 1: And so I was looking at the temperature and it
Speaker 1: was like minus fifteen and everyone's going, great, it's only
Speaker 1: minus fifteen. I thought, no, no, come on, I wanted
Speaker 1: to be minus twenty Saturday. Wasn't you want to be
Speaker 1: able to capture the breath coming out of the players? Know? Well?
Speaker 1: There was just a football game played here, Michigan Ohio
Speaker 1: state famous rivalry. And I think that the word that
Speaker 1: came to mind as had as watching it was was cinematic,
Speaker 1: not just because the storylines played out that way, because
Speaker 1: the snow was falling and it was just every every
Speaker 1: frame of it was was dramatic and that that comes
Speaker 1: through and lots of your pictures. We are photographed Russell
Speaker 1: Wilson in Montana in the summer and uh we shot
Speaker 1: in the middle of the night. He's very game and
Speaker 1: I said, I said, Russell, you hope you don't mind
Speaker 1: getting wet. And he looked up in the sky and
Speaker 1: he said, David, don't understand, I can't see a cloud
Speaker 1: in the sky. I went, no, no, no. We brought
Speaker 1: the rain and then this truck arrived and he was
Speaker 1: very game. You got absolutely. So You've got lots of
Speaker 1: famous friends, including uh football players in sports here, Tom
Speaker 1: Brady's a friend. You You photographed these guys who who
Speaker 1: seemed to be pretty game to be thrown into these
Speaker 1: situations and and play along and have fun with it.
Speaker 1: I think I did a podcast with with Um someone
Speaker 1: you'll know Tim, with Tim Ferris and about a year
Speaker 1: and a half ago, Um, and we're talking about fame
Speaker 1: and you know a lot of famous people, and I
Speaker 1: think fame is just an amplifier. And I'm borrowing from Chris.
Speaker 1: If someone's a good person and then they become very
Speaker 1: good at what they do, and they become famous. I
Speaker 1: think they'll continue to be a good person, just maybe
Speaker 1: an even better person because they're coping with their fame.
Speaker 1: If someone is a bit of an arsehole, it probably
Speaker 1: can go the other way as well. Um in my experience,
Speaker 1: and my experience is small versus yours, the stars that
Speaker 1: I've dealt with have been so likable and charming. It's
Speaker 1: the it's the entourage, one layer underneath you're going to
Speaker 1: be careful about. They are the ones that I get
Speaker 1: a little bit of the jittives. But once you've got
Speaker 1: over the entourage, I find out a walk in the park.
Speaker 1: It's just the entourage that sometimes I have my moments with. Yes,
Speaker 1: I can relate to that. I know exactly what you're saying. Well,
Speaker 1: you've doubt with with with supermodels. I mean sometimes your
Speaker 1: pictures seemed to merge the areas of wildlife and fashion photography.
Speaker 1: I guess there there are similarities. They're there things they
Speaker 1: have in common. But but you've worked with Cindy Crawford
Speaker 1: a lot and trying to recreate some some iconic things,
Speaker 1: and and how has that been with her sort of
Speaker 1: decades later trying to to create a still photograph that
Speaker 1: recalls a TV commercial. I think we all remember it.
Speaker 1: You'll remember from the Super Bowl at ninety two. I
Speaker 1: think the tough thing for me is that we're the
Speaker 1: same age, and when she shot that in nine, we
Speaker 1: were the same age, and now we looked fifteen years apart.
Speaker 1: She has an age at all. Um, No, it's um.
Speaker 1: If you asked my team, my team have had the
Speaker 1: pleasure of working with all sorts of people over the
Speaker 1: last four or five years, in all walks of life.
Speaker 1: And if you asked my team to put it on
Speaker 1: a piece of paper, right down their favorite person, unbeknown
Speaker 1: to each of them, that all say Cindy Crawford. Um.
Speaker 1: She's She's she's true, she's professional, she's kind, she's not affected.
Speaker 1: She'll go to the most marginal person in the room
Speaker 1: and speak to them if they she feels are disenfranchised. Uh.
Speaker 1: And I had the pleasure of spending a few days
Speaker 1: with her. We went up to Madison when the Badgers play,
Speaker 1: and of course that's where um. She's given so much
Speaker 1: for her philanthropic efforts took towards UM and I actually
Speaker 1: went to a Badger's game. It was extraordinarius. The only
Speaker 1: time in my life because I'm used to British football.
Speaker 1: We're in a British football. If your team is doing badly,
Speaker 1: the crowd diminishes after halftime because people want to go,
Speaker 1: whereas the game I went to, the crowd builds up
Speaker 1: after halftime because everyone's getting drunk in the pubs beforehand
Speaker 1: before they get the game. UM. We raised with her
Speaker 1: in one weekend two point six million dollars with one
Speaker 1: picture and which is a testimony to her or not me. Uh.
Speaker 1: And we did events in Madison and in Chicago and
Speaker 1: she was brilliant. It was great fun to do that.
Speaker 1: It's a second or third time we've collaborated and we
Speaker 1: get She's very easy to to to work with UM
Speaker 1: and we have a lot of fun together and she's
Speaker 1: the total pro. So now it's very humbling when you work,
Speaker 1: you know, in your job, when you've got a big
Speaker 1: thing to commentate on. UM, it's good because it keeps
Speaker 1: you on your toes. You you want to be the
Speaker 1: best you can be, and if you're commentating on a
Speaker 1: men's final, Wimbledon or whatever, you want to be your
Speaker 1: very best. And with Cindy, I want to be the
Speaker 1: very best of what I do. Yeah. I perfectly said,
Speaker 1: glad you get to experience US college football in Madison,
Speaker 1: because that's one of the crazier, better atmospheres you can have,
Speaker 1: and and it's enough fun place. Yeah, in the best
Speaker 1: possible way. Yeah. I encourage people for who come from
Speaker 1: the UK or anywhere, but that's a that's a global
Speaker 1: football slash soccer fan to to experience college football because
Speaker 1: it's the closest thing you have in this country to
Speaker 1: that kind of uh, that kind of celebratory atmosphere. David
Speaker 1: enjoys spectacle and has a real sense of drama. We
Speaker 1: talked about how it doesn't just take pictures but also
Speaker 1: makes them pictures that come from ideas that he says
Speaker 1: are creative but also have to sell, and they would
Speaker 1: include a story setting, a cast of humans and animals.
Speaker 1: His latest work is called Catwalk, and it's an extraordinary,
Speaker 1: one of a kind picture plays on the idea of
Speaker 1: a Paris fashion show. In this case, it's a beautiful
Speaker 1: lion on a catwalk and the audience or a hundred
Speaker 1: or so proud Zulu tribes people in South Africa whom
Speaker 1: David paid and were photographed separately from the lion to
Speaker 1: create some safety. The picture has a wonderful sense of
Speaker 1: harmony and celebration of lions, and you can see it
Speaker 1: again on David Yarrow dot photography. David often borrows concepts
Speaker 1: or some of his heroes, film directors and their storytelling talents.
Speaker 1: If you're a photographer, as opposed to a filmmaker, you
Speaker 1: have to tell a story in two d and fifty
Speaker 1: for the second. Um, if you look at the great
Speaker 1: American artist Norman Rockwell, he would tell a story in
Speaker 1: one painting. If you're a filmmaker, and as such, enormous
Speaker 1: respect for just about every filmmaker. They've got a far
Speaker 1: tougher job than us. The only time that where our
Speaker 1: job is a little bit challenging is we've got to
Speaker 1: tell it all in that one single frame, which makes
Speaker 1: it very difficult because you've got that means you've got
Speaker 1: to make that frame sweat. When we're doing the Wolf
Speaker 1: of Wall Street series, um, I was thinking all the time,
Speaker 1: how would score case Well, I knew because I've watched
Speaker 1: the film so many times. But when we finished our
Speaker 1: we got that final picture in the Wolf of Wall Street,
Speaker 1: which was embodying the same principles as Catwalk um, I've
Speaker 1: scored case signed it, and which is a great thrill
Speaker 1: for me that he he actually thought, that's not a
Speaker 1: bad still of what I was trying to do. Albeit
Speaker 1: we put a wolf in there. And Jordan belvil I
Speaker 1: love the phrase, what does it mean to you make
Speaker 1: the frame sweat? You've got to you know, if you
Speaker 1: look at your computer screen, you've got to make every
Speaker 1: inch of that computer screen sweat. If you look at
Speaker 1: the game, the sport that you watched the most of
Speaker 1: in in in terms of tennis, the best tennis players
Speaker 1: you commentate on, they put the ball into every single
Speaker 1: corner of that the corners of the court, right on
Speaker 1: the tram lines in the middle when they need to,
Speaker 1: but they make that whole court sweat for their opponent.
Speaker 1: It's the same with the photograph. You've got to make
Speaker 1: it work, every part of it work for you. Yeah,
Speaker 1: the word world is drowning in images because of the
Speaker 1: iPhone cameras that probably have been more images taken of
Speaker 1: some sort um in the last five years and an
Speaker 1: entire human history before it. I would say easily with
Speaker 1: that kind of oversaturation, to grab attention, to hold it
Speaker 1: has to be really challenging. I don't think um enough
Speaker 1: photographers think about that um and I think that's absolutely right.
Speaker 1: So to grab someone's attention, as you say, hold it
Speaker 1: is more and more of a challenge. I think the
Speaker 1: mistake that photographers may, including myself, is to think that
Speaker 1: they can take a huge number of pictures a year
Speaker 1: that the world needs to see. My My goal, and
Speaker 1: I've I've always sent this on record, is if I
Speaker 1: can take five good pictures a year, that's a good
Speaker 1: year for me. The way that I look at a
Speaker 1: good picture is if your house went on far and
Speaker 1: that picture was destroyed with the file and it was
Speaker 1: nowhere else with the house, would you how many how
Speaker 1: many days would you think about the fact you'll never
Speaker 1: have that picture again with you? And the five pictures?
Speaker 1: If those five pictures that were destroyed with the far
Speaker 1: for this year, I'm not sure I could take any
Speaker 1: of them again. A good picture has a couple of
Speaker 1: things within it. Number One, it should be looked out,
Speaker 1: can be looked at for a long time. Number Two,
Speaker 1: it can never be taken again. And that's an important
Speaker 1: way of looking things. If if you're a good picture
Speaker 1: is a picture of um um Chicago going down the
Speaker 1: river at sunset and you're proud of it. You can
Speaker 1: go back there. It's still that it was, still will
Speaker 1: be always the architectural city of the world. You can
Speaker 1: still go back and take that picture if you've got
Speaker 1: a pictures I might have had this year of something
Speaker 1: of six bison charging towards me through the snow. It's never.
Speaker 1: Don't think I'm going ever going to get that again.
Speaker 1: I could try, but I really don't think I'm going
Speaker 1: to get that again. So less is more most of
Speaker 1: the time, Chris, I take pulp. I take mediocre, average,
Speaker 1: nonsense that the world doesn't need to see. So the
Speaker 1: world doesn't see because it's just really really average, and
Speaker 1: that's fine. I think it's it's you always know I
Speaker 1: don't really fish that much. I don't when you fish,
Speaker 1: but you always know if you're with a good fisherman.
Speaker 1: If he comes back and says, I I had a
Speaker 1: great day. I got a couple, but they weren't huge.
Speaker 1: I just put them back in, But what a lovely day.
Speaker 1: You know that's a real proper fisherman. Whereas if there's
Speaker 1: the guy that bringing back the little fish that can't
Speaker 1: really feed too many, you're thinking he may be a
Speaker 1: bit of a junior fisherman. So it's okay. You can
Speaker 1: have a good day even though you don't take a
Speaker 1: special picture because because you're out there on the job
Speaker 1: and sort of enjoying it in present, or you gotta
Speaker 1: have something special for you to feel great about. I
Speaker 1: think you can have two. You can have two different reactions.
Speaker 1: You can you can come back at the end of
Speaker 1: the day and say there was nothing there for me
Speaker 1: to take in, like in Alaska with bears. In Alaska
Speaker 1: we did We did five days back to back, um
Speaker 1: and we know what we're doing up there. Every day
Speaker 1: we came back to the lodge and we said, well
Speaker 1: it was a ship day. We're down twenty and should day.
Speaker 1: But you know what, we didn't miss anything. It's when
Speaker 1: you miss something through your own poor execution that's that's upsetting.
Speaker 1: And the final day there was something happened, Something was
Speaker 1: there and we got it. What you don't want to
Speaker 1: do is be presented with the the opportunity and miss
Speaker 1: it and that happens. That of course, that happens. I
Speaker 1: had a had a chausse said, there's this a very
Speaker 1: big bear that I've always wanted to photograph. He's huge,
Speaker 1: and I had my remote control down on the ground,
Speaker 1: and lo and behold, he came right towards walking right
Speaker 1: towards the remote control, and I'm my focal plane is
Speaker 1: about four foot in front of the camera and about
Speaker 1: five ft in front of the camera. For whatever reason,
Speaker 1: he stopped or lost momentum. And then when I had
Speaker 1: a ship in the woods and but my camera, I
Speaker 1: still pressed the trigger when the lat because I've got
Speaker 1: the motive, I've got the remote control um. But it
Speaker 1: was just maybe half a second before where my vocal
Speaker 1: plane was. And I went all the way back from
Speaker 1: Anchorage to Los Angeles looking at this picture on my
Speaker 1: computer and going, I think I may have got it.
Speaker 1: I think I may have got it. Maybe I've got
Speaker 1: it to convince myself that I hadn't, that it wasn't
Speaker 1: really bad luck. And then when we went to the
Speaker 1: studio the next day in l A and it's printed
Speaker 1: the size of a pool table as mine are, and
Speaker 1: I just went, God, I haven't got it, because that's
Speaker 1: when you find out whether it's sharp or not. It's
Speaker 1: gonna be pin sharp, and it just wasn't. And you
Speaker 1: have moments like that of course you did is you're
Speaker 1: a great market for for a picture of a bear
Speaker 1: taking a ship. It was always that that have been
Speaker 1: a nice You'd be surprised with what people people want
Speaker 1: to bind it. And what I respect about you, David
Speaker 1: is you are so damn hard on yourself and you
Speaker 1: have a high bar. It doesn't matter if your pictures
Speaker 1: are praised by others. You want to meet your own standard.
Speaker 1: And you you constantly believe not only that you can improve,
Speaker 1: but that you must improve, that that's imperative to be
Speaker 1: better this year than last. And and you're in your
Speaker 1: fifties now and you feel like you're you're the best
Speaker 1: photographer you've been. And I admire that. I can relate
Speaker 1: to that somewhat in that quest to not settle, to
Speaker 1: be tough on yourself. And I always feel like you
Speaker 1: must improve. And I really respect that because a lot
Speaker 1: of guys who have done what you've done, whatever the
Speaker 1: field is, but particularly photography, would sit back on their
Speaker 1: ass and just and and and mail it in. I think,
Speaker 1: I think, um, yeah, it goes right to your heart
Speaker 1: of your personality. Um imagine starting January the one. And
Speaker 1: I learned this from some of my mentors. You start
Speaker 1: on January, the one you wake up with a hangover
Speaker 1: and you go, this year, we're gonna do this lightly less. Well, well,
Speaker 1: that's not a really particularly good way to start January,
Speaker 1: the first to go this year we're gonna do It's like,
Speaker 1: you know, aging is a fairly miserable process. Um, there's
Speaker 1: so many things you become less good at. Um. But
Speaker 1: you should become a better photographer because photographer. Photography is
Speaker 1: about emotional intelligence, and you do become more I think,
Speaker 1: more emotionally intelligent. You get older, so long as you
Speaker 1: don't become, you know, like a really old fart. But
Speaker 1: you should. You should because it's the summation of the
Speaker 1: aggregation of everything you've learned. Um. And I'm slightly more
Speaker 1: confident now than I used to be. I went for
Speaker 1: a meeting with FIFA and the other day injured, and
Speaker 1: the the FIFA guy said, so, how would you like
Speaker 1: to photograph Messy? And my first reaction was to say,
Speaker 1: we'll certainly not on a football itch, to which he replied,
Speaker 1: I'm so pleased you said that. And I think maybe
Speaker 1: ten years ago I might have said, well for him
Speaker 1: playing for Argentina or prison as your main or Barcelona
Speaker 1: or whatever. Whereas now I want to photograph him coming
Speaker 1: over the hills of Patagonia with some goats, because he's
Speaker 1: the greatest of all time. So that's how I want
Speaker 1: to photograph Messy. I don't want to photograph him in
Speaker 1: his normal environment. That's not good. An awful lot to
Speaker 1: do with photography. I think that's got enough what to
Speaker 1: do with more your creative processing and trying to assess
Speaker 1: what is going to capture people's emotions. Yeah, it's great
Speaker 1: to have that sense of intellectual maturity. As you said that,
Speaker 1: there's because there's a great physicality to your work. I
Speaker 1: mean literally, it's a physical experience. Is demanding. The pictures
Speaker 1: have a physicality, two of them. At times you had
Speaker 1: to be fearless slash borderline reckless, depending on the definition
Speaker 1: of it. I don't know that that's still done as
Speaker 1: much now, but you still have the appetite for that,
Speaker 1: for putting yourself and your gear and harm's way when needed,
Speaker 1: because the intensity of the experiences is that seductive. I
Speaker 1: think on some I had a I had a bad
Speaker 1: experience with killer whales up in Norway Orcas, and because
Speaker 1: if you're going to photograph an Orca, you want to
Speaker 1: photograph them. Photographing anything on the sea, you want to
Speaker 1: be as close to sea level as possible. Um. And
Speaker 1: there is a big difference between photographing from three food
Speaker 1: above sea level to sea level. So the only way
Speaker 1: really to photograph orcas I felt, was to be at
Speaker 1: sea level, and the way to do that is to
Speaker 1: be on a raft. So I was on a raft
Speaker 1: being total along by bigger boat in Siberia, and I
Speaker 1: didn't have a wet suit on. I just had the
Speaker 1: ski clothes on. And I got the picture of the
Speaker 1: worka it's cold actually on the website's called the Killers
Speaker 1: and it's a it's a favorite picture of mine. Um.
Speaker 1: And I was so bloody excited and also so cold.
Speaker 1: I tried to get back into the boat from the
Speaker 1: raft quicker than my instructions were at the time, and
Speaker 1: the raft tipped and I fell into the ocean with
Speaker 1: my camera here um and um, it's quite cold up there.
Speaker 1: So they took me to the hospital with um, you know,
Speaker 1: in case you get hypothermia. And there was this rather
Speaker 1: attractive Russian nurse who asked me to take all my
Speaker 1: clothes off and actually actually my penis had disappeared, it
Speaker 1: had inverted into my body, and it was one of
Speaker 1: my more embarrassing moments in my life. She said to
Speaker 1: the whale, says, and I said, well, it wouldn't have
Speaker 1: fed him for that long. That wasn't where I thought
Speaker 1: the story was going, because if it, if I thought it,
Speaker 1: I would probably got another direction. When you start out,
Speaker 1: it's not a sentence I've ever actually heard before. I
Speaker 1: had a bad experience with the killer whales in Norway.
Speaker 1: That's that's the story sentence I've never actually heard. And
Speaker 1: then your your description is certainly a place I didn't
Speaker 1: expect it to go. I don't even know where we
Speaker 1: can leave it with that. That sounds kind of a
Speaker 1: mic drop because it's it's tough to end something like
Speaker 1: this about a great time without without being trite. But
Speaker 1: is there a is there a thing that you can conceive, David,
Speaker 1: a picture that you can imagine planning and plotting and
Speaker 1: executing where you would just sort of drop the camera
Speaker 1: and go, that's it. If I can't do better than that,
Speaker 1: that's that's the last achievement, and just make it like
Speaker 1: a walk off image or because you can do this
Speaker 1: for years if you want to. I had, I had.
Speaker 1: I wanted to demystify Kim Young of North Korea. So
Speaker 1: I went to North Korea with the idea that I,
Speaker 1: as a Westerner, could take a portrait of him, of
Speaker 1: the supreme leader that would demystify his personality, and I
Speaker 1: gave him my very best shot. I spent a week
Speaker 1: there and then they wanted me to do teach them
Speaker 1: photography lessons and stuff, so I pulled out the end.
Speaker 1: So that was one that got away. I mean, at
Speaker 1: the top of my wish you couldn't get it, or
Speaker 1: you just didn't like the vibe, and I just worried
Speaker 1: that I worried. I quite like them. Actually, I just
Speaker 1: worried that, um, I could spend another two weeks there
Speaker 1: and then they turned around and say no. But they
Speaker 1: did ask me how I wanted to photograph him, and
Speaker 1: there I thought they had more of a sense of humor.
Speaker 1: So I said, why I can't I tell him sitting
Speaker 1: on a rocket and there was silence, but four they
Speaker 1: then laughed and said, you're making You're being funny, and
Speaker 1: I said, yeah, I wouldn't worry. I wouldn't do that,
Speaker 1: but I would love to one of my heroes is
Speaker 1: Willie Nelson. Uh and Um, Willie has been obviously locked
Speaker 1: up a little bit in luck in Texas because of
Speaker 1: COVID H. I would love to photograph him. I would
Speaker 1: love to photograph him in a way, in my kind
Speaker 1: of way, with some badass people. He's got. He knows
Speaker 1: plenty of badass people, but that would be that would
Speaker 1: be a bit of a girl of mine. Um. And Uh,
Speaker 1: you're you're almost going to get better, you know you
Speaker 1: you you look at your extraordinary career and you've photo
Speaker 1: You've watched some of the best tennis matches that anyone
Speaker 1: could ever watched with three extraordinary male tennis players over
Speaker 1: the last twenty years. And every time you've seen one,
Speaker 1: you've gone, my goodness, I'll never see a better game.
Speaker 1: And then probably you've got another one that that was
Speaker 1: actually better than than the doll federal one that I
Speaker 1: thought would never be decent. Um. So you can always
Speaker 1: always hope to get something more. Uh, challenge yourself, get
Speaker 1: more creative. And I am I'm a storyteller, so I
Speaker 1: there's so many stories that are being told. Every time
Speaker 1: that I see a new great movie, I go, that's amazing.
Speaker 1: And they didn't even think about it three years ago,
Speaker 1: and look what they've just produced. So I'm I'm full
Speaker 1: of optimism that there's so many things around the corner.
Speaker 1: So grateful to David for his time, for his work,
Speaker 1: and for what he does through his work. Since two
Speaker 1: thousand and eighteen, David has raised more than six million
Speaker 1: dollars for humanitarian and conservation organizations. His next adventure back
Speaker 1: to Antarctica, try to get the picture he couldn't get
Speaker 1: on his last visit, which lasted only forty five minute
Speaker 1: because of new COVID regulations. The quest for five Good
Speaker 1: Pictures a year begins anew in two. That's also when
Speaker 1: season four of our podcast will begin. I want to
Speaker 1: thank all of our guests who made season three so
Speaker 1: much fun, and thank you for your growing support. Grateful
Speaker 1: as always to co executive producer Jennifer Dempster and Adjason
Speaker 1: whitehealf Is Edny Skills. We want to wish all of
Speaker 1: you a wonderful holiday season and a healthy, fulfilling and
Speaker 1: happy new Year. We'll talk to you so