Best Documentary 2017 The Photographers - Documentary - Full Movie

Best Documentary 2017 The Photographers – Documentary – Full Movie



Oh photographers try to tell the story in a very immediate powerful provocative way what I'm doing is studying that subjects movements to their personality their death their gestures working for Geographic is the best job in the whole world it's also the hardest job in the whole world intensity you have to live with photography most people aren't waiting on private prize you're a little bit like a Texas Ranger up here by yourself on your own frequently just doing your thing it's just a little moment at a time and captured it in the box and then you put it on the page once it's saying we've captured something that possibly Connecticut our children everybody says that you have that I have the best job in the whole world and it's you know I think really for the most part they're right Jody Cobb is a National Geographic photographer covering the journey across Europe on the legendary Orient Express for Cobb it's just another chapter in a career that's taken into places most of us only read about the trademanager I called a crew on board wish you a very pleasant journey on for the very simple and takes place thank you it has to be simple to the devil you evolve you're really your own personality you're a one-man band figure out where you're going to go what you're going to photograph who you want to see what you want to see in this country of this place how you want to tell this story telling the story of this train trip will take Cobb only a few days but some assignments can last for months usually unless mercurius surrounded collectively National Geographic photographers shoot nearly a hundred fifty stories every year traveling more than a million miles on any given day there may be a dozen of them in the field in as many different countries searching for unusual subjects unexpected moments and memorable images it's not an easy job the photographers of National Geographic must try to bring the world and all that's in it to the pages of the magazine from its earliest issues more than a century ago National Geographic magazine brought the world to its readers not only with words but with pictures pictures of discovery in exploration of wildlife and wild lands of people in their customary dress or undress photographs were always popular with readers and by 1908 they filled more than half the magazine's pages it's pioneering editor Gilbert H Grosvenor maintained that the mind must see before it can believe by the 1920s the Geographic was sending its photographers all over the world they sometimes risk their lives to document cultures and customs in faraway places this was by all accounts one of the world's most glamorous professions what's it like now half a century later [Applause] the image of the National Geographic photographer is just as romantic today as it ever was it still seems like a dream job but how does the reality stack up against the dream the reality of what you get up and do everyday till you go to bed that night is far different from from the perception of it traveling to distant locations taking a lot of bags going through customs getting sick getting well hoping praying it's miserable conditions or horrible hotel rooms worrying about the expenses worrying about the weather you spend much time arranging and gaining permissions and authorizations and very very little time shooting it's loneliness and fatigue and it's assistants who won't show up and it's helicopters that develop engine trouble the plane I was flying in crashed into a lake it's a bit insane it's it's totally abnormal it's diseases at malaria 12 times broken my back had malaria been seasick they broke in my hotel room at two o'clock in the morning and and robbed me a gunpoint and it's you know all those things it's God maybe even the troubles are more glamorous [Laughter] sometimes troubles in the fields can turn into an advantage Jim Stanfield is covering the reenactment of an historic flight from England to Australia in a replica of a world war 1 by plan on the 29th day of the flight over the island of Sumatra disaster Street engine failure forced a crash landing Stan feeling the crew narrowly escaped death but he was hardly aware of age he was too busy making pictures I certainly didn't expect to go down in a rice paddy but it led to a portfolio of photographs that we certainly did not expect you're working a little bit in shock you're working a little bit on automatic pilot I found photographs in that coverage that I didn't remember photographing even some of the people so here was a situation that it was a misfortune to the project it was disconcerting to the pilots but it did work for me Nick Nichols specializes in adventure and wildlife photography and he's no stranger to adversity but even Nichols was unprepared for the ruling seven months he and his team would spend on assignment in the Indo key rain forests of Central Africa Indo Keys is the first time I've ever been to an intact ecosystem when you get into the induct you realize that you're definitely outsider that the creatures there are in control it's just a place for animals and not Bremen the toughest part of my job is oftentimes not taking photographs but surviving in the environment where I've gone to photograph the intensity you have to live with the photography most people aren't willing to pay the price I mean I teach workshops so I see students all the time and they they really think wow you get to wander around the world and take pictures I say no no no I work there's a difference in capturing your subject and putting it where you want and having it stand there the subject is really in control you're just trying to capture a moment with that subject capturing a moment can be a dangerous business especially if your subject is an elephant with a bad temper I mean I'm standing in a stream the elephants running straight toward me really what I'm thinking about is when to run and so I push the button at the last possible moment now I start running and think if I got one if it's in focus one if it's properly exposed and then when you see it it's just a roaring moment fieldwork is more than some people can do watching on 18-hour days you don't eat you know and your wife and your family I mean we lived in a forest it's got probably the most insects on the planet not only they give you disease they sort of drive you crazy fighting all the time or in your ears or in your eyes and there were worms that would get into our feet and they're called foot worms but I ended up with about a hundred of them on my buttocks which is a kind of embarrassing it's not a cushy job Oh didn't load but didn't load dead okay yeah in spite of all the hardships even in a place like Ndoki Nick Nichols manages to create images of classic beauty with a unique Flair is daring and inventive photographs are changing the way we view wildlife the way I look at Natural History is so different than what it's been looked at in the past the static nature of photography doesn't do it for me because the world's moving and I'm very much a product of the 60s in popular culture so I see with bright colors and I see with a little flash on the camera and edges that the movement creates the photographers of National Geographic are free to pursue their own styles and their work is often untraditional even startling they're not only journalists they're artists creating pictures that dazzle as well as inform William Allard is a veteran Geographic photographer who's long been recognized for the distinctive style of his photographs like Nichols Allen pushes his craft to its technical limits often shooting in low light or in unexpected settings he defies convention both in his style and in his choice of subjects with me I think it's a certain kind of palette a certain kind of light I like I love working in limited lighting conditions I think there in photography as in painting it gives you a certain kind of spatial clean you work with and that's why I don't think you know I don't think you look at my photographs and say those are snapshots they can't you can't make a snapshot at a half a second I'm not a motion picture person I'm not a cinematographer I don't have the element of motion I don't have sound so I have to evoke the feeling of movement perhaps the feeling of song it's a it's a it's trying to put something into that one single image that will evoke the feeling you might get by looking at a sequence of images that tell you what favorite event or place National Geographic magazine publishes more than a thousand pictures every year and whether they're traditional in style or more avant-garde they all must meet the same high standards so what makes a great photo just ask the photographer's themselves I'd like to think that an ideal National Geographic photograph is one that is clear and sharp and and abides by the the basic rules of what is a good photograph you have a strong center of interest and that it is sharp and the composition is good for me a great photograph is one that really says something but is also packaged well has a nice content good designed and it says something about life so something about the human condition it says something about the planet because Geographic has faith in their photographers they give them the time in the field to do deep thorough intimate coverages that are comprehensive and without intimacy you cannot get the kind of photographs that readers the geographic are used to close personal powerful photographs really nice lady go that's Jim Stanfield has shot more than 50 stories for National Geographic during his long career and he's been honored by his profession four times he's been voted magazine photographer of the year one of Stanfield specialties is the historical story evoking the life of a lost age like that of the 16th century Ottoman ruler Suleiman the Magnificent in a village market in Turkey he searched for characters who might somehow personify the people of Solomon's day Stanfield looks to the faces of the present to capture the personality of the past there are probably five or six great faces in this market but I probably burn two roles totally on this lady because I believe she has the fiber that I was looking for she had the strength in her face and body that makes up the personality of what people may have been 400 years ago and I was just waiting for an expression what I needed was a smile or a giggle from her it might set her apart Stanfield invests considerable time and energy in his work in the field but he brings back more than photographs harvey been working hard good these are some of the rewards that people don't realize it's not only being reproduced in the magazine but it's some of the personal contact and it's some of the friendships just cheap at twice the price can be a very lonely life working for the National Geographic and being away eight to nine months out of the year but if you meet a few people like this it certainly recharges the batteries much of the photographer's time is spent simply finding the right subject to shoot but he still needs a special talent to forge a personal connection a bond of trust her first name is Fatma she took a liking to me in suit during the celebration of the nomads she has cattle or she has golden the most difficult part for a photojournalist is weaving him or herself into the lives of the subject and putting the subject that he is did I have the bullet today even though you don't speak the language I think that they see an awful lot in your I don't think it takes very long for them to realize that I'm very serious about my work I'm trying to do the very best for myself and for the subject and I think they get a big kick out of it the human face speaks to people it did to me when I was a young man and wanted to be a photographer portraits were the most moving thing I think they continue to be the most moving part of the daughter sometimes there's an absolute immediate emotional thing that happens when we see somebody that you know a going to be a wonderful photograph but B there's something about them that makes them a wonderful photograph and that's usually something internal it not just the way they look but but their way of relating to the world of responding to the world of responding to me as a photographer and it's and it's a spark of life and in their eyes like the child in the Vietnamese refugee camp whose eyes and my camera locked at that moment and there was sort of that spark of recognition that's that spark of communication or something between us [Applause] when lou mazzatenta shot a story near Italy's Mount Vesuvius he would find no faces to respond to his camera no characters to connect with the ancient Roman town of Herculaneum was buried in a volcanic eruption and no trace of its citizens had ever been found it was long believed that they had escaped until archaeologists finally learned the more gruesome truth in the middle of a summer night in AD 79 a volcanic Avalanche descended on Herculaneum the town's terrified inhabitants were overwhelmed as they tried to flee nearly 2,000 years later the remains of 150 of them were uncovered beneath an ancient Beach a National Geographic Dispatch mazzatenta to document the discovery now that the victims had been found his camera would bear witness to their tragedy it's really like walking on glass I consider this the most important assignment I've ever had because you're dealing with with history that's just being brought to light at this very moment in time and you know it's me that's here to record it I think the moment I open that door of that chamber the first time and walked in and the light was still rather dark my eyes had to adjust and I saw slowly these skeletons all laying on the floor and then as I look closer you could see people hugging each other and you realize that this this was the way they died that they were just frozen in time at the moment of their death and it was very very emotional at first lou mazzatenta would spend four months completing an assignment but taking pictures is only one step in creating an article for the magazine back at National Geographic headquarters in Washington the photographer faces a different kind of challenge working with a picture editor he must review the hundreds of rolls of films shot on the field out of thousands of individual frames only a few dozen will make the cut to be considered for publication besides the writer and photographer the geographic team includes editors artists photographers computer technicians all working to bring color detail and life to the story a year or more passes from the time of photographer takes his first pictures until the finished magazine rolls off the presses and on the cover of this issue lou mazzatenta sport rrett of a lost world the cover is a crowning glory it's the jewel in the crown I think it makes all of your efforts complete to have the cover means kind of that you own the issue I can see that issue from across the room and I know it's mine my story's in there I think was chosen to cover because it's a natural front cover it's a simple photograph because of the flag is in the picture that the stance of the ballplayer I think also given the fact he's wearing numeral one number one I mean all these things kind of fall into place and the light was gorgeous on that that South Texas afternoon that pictures a result of simply showing up for work on time I got there they played the national anthem the light was very nice and not a difficult picture to make the writer night we're lost in Dublin overdue for an appointment in a remote suburb and we're really racing around Ireland looking for the right Road and we passed these four children with their horse they were walking in front of a great stone wall and I had this pony and the light was gentle and graceful someone saw them who knew them honk the horn and they all looked they looked off-camera the wind blew and I took the photograph one frame one woman and it catches them unaware and that's the power of the photograph a lot of times you know it instantly you know at the very minute that you click the shutter that the picture is there a lot of other times it's a surprise on the film when you get home for example the picture of the women here at the swings and the Saudi women cover I didn't really realize at the time that was going to be as compelling a picture as it was you know I saw the light and the movement and the shapes but I didn't realize how the way her hip line goes would be quite so seductive and to work with the with the expression in her eyes and at the kid on the swing would be flowing right at the moment that it was um those things you don't know you hope for the best I think a cover needs to be simple direct and it has to reach out and grab the reader this picture was chosen for the cover because it kind of summed up the whole plight of the Afghan people this time and there was a very small country they were invaded by a superpower since I made the photograph back in 1984 I don't think a week is going by in the last 11 years that I haven't got a letter or a telephone call asking about her wanting a print or wanting send money to her the attraction of the why people are drawn to that picture is the look in her eyes the haunted look is perhaps what is kind of riveting or captive wildlife photography is virtually a trademark of National Geographic capturing images of animals in their natural surroundings is a demanding specialty but the results may entertain enlighten and inspire from the Magazine's earliest days photographs of animals were among the readers favorites and Geographic photographers were pioneers on assignment around the world they created astonishing portraits of creatures both familiar and exotic but as the number of unexplored wild places dwindled a new frontier was just being opened with the development of the Aqualung in the 1940s for the first time man could explore and photograph the hidden world beneath the sea an early convert was National Geographic photographer Louie Martin in the magazines first large-scale underwater stories his groundbreaking pictures provided a startling look at the creatures of the deep Martin's work helped to inspire the next generation of underwater photographers one of the best is David Doubilet in his 25 years of working for the geographic du Bellay has shot more than three dozen articles his work keeps him in the field most of the time I really would like to have a regular life if I could I'd like to live in New York take the elevator downstairs and swim out into the street and take pictures home for dinner every night can't do it I have to go to the ends of the earth and then when I go to the ends of the earth then I have to go into water I never never go in the water without a camera I can barely take a bath without a camera I might miss something I figure I've been underwater now a hundred days a year since I've been 12 for three hours a day I don't know what that adds up to but it's a lot of time underwater is half shooting pictures of thinking about pictures the other half is hunting finding this stuff it's a little bit like trail craft walking through the woods what's that what's that sound what's that thing why these fish doing that and after a while you begin to learn how the sea works and it's a very complex very little understood place and you've got to find things underwater photography like anything else in the water requires special training and sophisticated equipment by newer guys French photographer and it turns to me you know smoking big thick Gauloise he says David you know I'm interested only in the image I am NOT interested in the equipment of the photography and I all said to myself a bunch of bull it's unbelievable of course photography is about seeing and to see pictures you need to have equipment and the equipment nalli has got to work but it's got to be different and new it provides you with a new look a new way of looking at something and underwater you can't change film you can't change lenses you have to have a pile of stuff for me to do the same job as surface photographer does on land underwater when the surface photography long in the heaven some lenses they have some film they're going down a strange Street a strange place they take a lens they change the lens that take they take a roll of film they do that to shoot six rolls have to have six cameras and all each one of us to have a different lens and each camera has to have two or three strobes attached to it so that's like a mound a mountain of stuff to go off and take a picture of a shrimp or a shark or a shrimp in a shark and of course everything has to be lit underwater it's a blue or green strange world and it needs that that bottle of sunlight and one do that it restores colors that are never seen in the real world and that's what makes underwater photography a challenge even for an old hand like du Bellay some assignments bring a special thrill a meeting in the sea is a terribly rare thing for a human to come face to face with any creature is a wonders experience and if all the creatures in the sea stingrays are the most bizarre to be surrounded by these creatures is not only rare absolutely extraordinary David Doubilet 'he's unforgettable encounters with wildlife and the resulting photographs more than make up for all his hard work and sacrifices in Japan but he doesn't forget the readers they too must be enlightened and transported by his experiences I want somebody who looks at one of my pictures to cross that barrier of the printed page and then go into the sea but come basically one with the ocean as where's corny as it sounds but if they can sort of let themselves go and rattle around in the frame of the picture and feel the ocean then it's a successful picture total immersion in the world of wildlife is a lot easier on dry land than it is underwater making their home near chobe national park in botswana pebbly Joubert and her husband Derek have the time they need to create award-winning Natural History films and for Beverly the opportunities for still photography are almost unlimited I have to totally engulf myself in the subject and living out in the bush I obviously have the advantage of a lot of time I can sit and wait for many hours and if nothing happens I don't have the nagging urge of being totally frustrated that I haven't got a shot we see and learn something different daily out in the bush it's amazing and funny I could capture everything that I see I think I'd have the most unusual African wildlife photography in the world but it's normally you know you get one great shot in a couple of weeks and that's really rewarding beverly's rewards those rare great shots depend upon the intimate knowledge she's gained during 20 years of living in the bush the most important thing is to become a part of the wilderness daily we're out there we're experiencing and having great roles and interacting with the animals we become an animal I become animalistic I stalk an animal to be able to get that shot the one thing I do is I stalk an animal with a camera so I don't have any means of aggression at all and I actually think that animals do pick that up a lot of the time the lines don't buckle and is enough that many around there obviously it's much harder living in the boxing arena city there are lot of things you have to do like draw your own water you can't just turn on a tap and have hot in a flowing water there's an incredible calmness in the bush and you actually become sort of one with what is happening around you and your spirit feels you know just so great that I don't think I could ever live comfortably in a city when the Sun sets life in the bush is no longer so calm as the Lions begin their hunt photographing this lightly drum is one of devilish your bear's greatest challenges you have to perpetuate the animals so that your presence is not a bother to them at all and then they will carry on doing whatever they normally would be doing and especially at nighttime when we working with them obviously Alliance could be a bother but we slowly obituaries the lines to the lights and they got so used to it that it's that they wouldn't even turn their heads even if the Lions are willing to accept the show bears presence capturing a kill on film is by no means certain it requires patience persistence and a good deal of luck we have 192 Pranava and she's going to a low store we've got one on the list and the risks are coming in directly with her [Applause] as this primal scene plays out in front of her Beverly must find the presence of mind that balance her likes her cameras and her emotions to watch the lines it took me a long time to accept what they were doing but when you're behind a camera you could you kind of forget all emotions around you and you just home in into exactly what is happening in front of you and then you capture that moment and hopefully freeze it in time for Beverly Joubert freezing a moment on film is the essence of photography but her success depends upon finding the right moment take for instance the line catching the baby elephant I'd seen that three times in 15 years in Botswana and never was I met you know able to capture it before and in two years ago it happened in front of us I put my finger on the shutter and I knew instantly that I got a great shot because I knew had never been seen before it was totally unusual and I just felt that everything had worked out well every picture tells a story and every photographer has a favorite story about a picture and New Guinea I swam into this huge school of barracudas and they began to circle me like a big silver wall coming around like that and I'm in the middle and I'm shooting pictures of barracudas and I'm saying to myself I am the picture the picture is me in the middle of these barracudas or someone else I swam back to the dive boat and I got the captain Dinah Halstead I said you got to come with me she says I'm I got six other guests I'm cooking I said you got to come she jumped in the water we swam back to the Barracuda they were still there enormous schooling of thousand barracudas and we swam into it and then they began his circle Dinah and I dove to the bottom and I said this is it this is the picture and I turn around I looked up and there were the barracudas perfectly circling her and I went once and twice she held out her hand like a ballet dancer and then they were gone and that was a picture I shot the whole roll and I said we got it the idea of every picture telling a story I've always believed that like that picture of Jane with the chimp hand I saw it happening and I didn't know if I could capture it I basically I looked over my shoulder and Jane was offering her head to a chimp that would really actually be threatening to kill her because she studied that mother-infant behavior so long she knew exactly how to disarm him with body language so she was able to offer him her head like that without danger I'm seeing this out of the corner of my eye and I started walking and trying to clean up the frame while I'm walking so when I first put the camera my other all kinds of disturbing things that didn't make it a magic moment and I'm just talking to myself please please please please and clicking cuz you got to keep shooting and just in case it goes away and there it was for I think two frames but only one that's like that and I just national Geographics mission is to provide its readers with a window on the world introducing them to lands and people's they may never visit often however the photographers must work in places where outsiders are unwelcome I personally like to do the photography of closed worlds hidden worlds societies of people that you normally don't get into see like the women of Saudi Arabia probably 99% of the women I asked a photograph said said no the situation there is that they had to get permission from their father or their husband or some male guardian and the punishment for these women up to have been photographed and have had their picture appear in a magazine like this is quite something that we in the Western world don't really understand they could be banished from their families they could be divorced from their husbands they could be they could lose their passports and their ability to leave the Kingdom or to travel just because because of this perceived um taboo against against being photographed bill Allard also specializes in unlocking obscure cultures both at home and abroad over the years he's provided readers with intimate portraits of religious groups like the Amish independent loners like Cowboys and even the close to world of minor-league baseball teams in the Brazilian state of Rondonia allit has entered another hidden community here on the fringes of civilization the impoverished farmers are leveling the rainforests in a desperate bid for a better life but this is more than a story of environmental destruction it's a tragic story about people a lot of these people have farmed elsewhere but they were crowded out by big money the corporation's big farm operations and driven in the direction of Rondonia where they're able to start again with their own land I'm fortunate enough when I work for Geographic that they kind of turned me loose so I can wander down the road and I can respond to the area to the region and to the people to get to the heart of the story a photographer must sometimes encroach on his subjects privacy and that can present an ethical dilemma I'm going in here now and I'm gonna you know I've been taking pictures here for 10 minutes they never met me before in their lives and we just kind of descend upon them and we were intruders we're always taking and the most the best you can do it I think my feeling is because it's it's undeniable – we are intruding so I think we have to try to do the best we can to make that intrusion worth some merit to them sometimes a photographer is able to give something back for Allard the chance came after he photographed a young shepherd in Peru and I was just wandering along the road as I like to do and came upon this boy and he was just sobbing all broken up in tears and some driver had come down the road and just kind of smashed through his band of a dozen sheep killing about half of them and that band of sheep represented his family's economy and he was responsible so here is Eduardo with half his family's economy dead down in a Gulch so they ran the picture but what I didn't expect and what happened was that people readers classrooms of children all over the country and I think some probably from outside the country responded to that photograph with great generosity and send in eventually I think seven eight thousand dollars something like that and the international air organization care found the boy and they had a big celebration in which they replace the boy sheep and then the rest of the money supposedly went into a fund for Peruvian school children here was a situation in which a picture I made made an actual difference in someone's life in this case I was no longer guilty of that taking and not giving though their job is simply to document reality photographers can't help responding to the hardships of their subjects lives this seems especially true in Africa a continent that has suffered centuries of exploitation but continues to inspire and challenge Bob Camus has covered Africa for more than two decades traveling its length and breadth and gaining remarkable insight into its peoples and their cultures you for Caputo cultural barriers are made to be broken and his camera provides a way in but some stories are almost too painful to photograph in 1992 he covered the famines that ravaged Somalia Sudan and the other countries of the Horn of Africa this time he struggled to maintain some distance the danger in having a camera here in front of your face between you and the subjects is that it becomes a shield and sometimes it's necessary especially in a situation like the Horn of Africa because the things that you're making photographs of are so horrifying and so depressing and I found in in several situations that there came a time when I I couldn't do it anymore I just had to put down the camera I was too overcome by the emotion and the tragedy I feel like if I'd been able to keep doing my job and keep making photographs when I felt that way they stopped being human caputo is chronicled the joys and the tragedies of the people of Africa and they've given him far more good memories than bad ones invariably everywhere I go people are incredibly generous and hospitable and welcoming and I've never felt out of place and I feel a real responsibility to convey accurately their lives there are all these millions of people who look at National Geographic magazine and often especially in the kinds of places that I go to this may be the only information they get about this place so I have a real responsibility to try to be accurate and thoughtful and honest about it somebody says boy you really work hard I don't consider it working hard because I love it the hardest part of my profession is if for some reason I can't do it if I can't work that's hard I think we really live in a global world now and for me that that's the geographic function is to keep telling the story of the rest of the world to people but also in my photographs particularly I would like for people to get an understanding and appreciation for other people in the world I feel that I've been incredibly fortunate to be able to go to all these places meet all these incredible people as a sort of emissary and a intermediary to bring that stuff back for people here but on a personal level I've been really lucky to have been able to live like this one of the things if photography has special to offer is it's a slice it's just a little moment out of time and you've captured it in the box and then you put it on the page and you can look at it for a long time it never goes what that opens up keeps charging but that was only 250th of a second back in the swamp but now it's going to live forever that's pretty neat you you

11 thoughts on “Best Documentary 2017 The Photographers – Documentary – Full Movie”

  1. I am an aspiring documentary photography. I don't have a camera yet, but I have written articles about the African villages and cultures, the ones which are never talked of

  2. Ohhh, their consistently incredible photography is such a gift.
    Unfortunately, over the last years/5 +, the quality of their articles has continued to become more ridiculously strident in supporting an extreme POV, ignoring the real human costs in terms of increasingly stark bleak poverty and lack of opportunity here in the remote areas of the US. Apparently those conditions exist elsewhere or in urban areas only. Nat Geo now “specializes” in centerfolds of hacked up animal porn, relentless gloom and doom and listening only to certain interest (affluent, outside) groups rather than speaking with the local people who are simply trying to survive (while the large resort operators import workers from Eastern Europe) and keep expanding the size of our largest state park in the nation guaranteeing only the affluent and “imported” NIMBYs can ensure they’ve slammed the gate shut behind them. As a result, for the first time in over 70 yrs. my subscription has not been renewed. Nor have my friends or colleagues. That particular Nat Geo’s article concluded (para) something to the effect a fine balance between the needs of the ecosystem and the local population has been achieved. What “local population?”
    After reading and viewing this ceaseless pounding on an extreme green POV, apparently their editorial staff congratulates themselves on what a fine job they’ve done destroying the balance between reporting that is reasonable vs. relentless, reality based rather than finger shaking and self-satisfied.
    And they just don’t understand why their readership is dropping off precipitously.
    No, we’re not all dying off fast enough to account for that, but I’m sure Nat Geo wishes we all would.

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