WEBVTT 00:00:00.000 --> 00:00:03.000 Let's just start by looking at some great photographs. 00:00:05.000 --> 00:00:08.000 This is an icon of National Geographic, 00:00:08.000 --> 00:00:11.000 an Afghan refugee taken by Steve McCurry. 00:00:11.000 --> 00:00:14.000 But the Harvard Lampoon is about to come out 00:00:14.000 --> 00:00:16.000 with a parody of National Geographic, 00:00:16.000 --> 00:00:20.000 and I shudder to think what they're going to do to this photograph. 00:00:20.000 --> 00:00:22.000 Oh, the wrath of Photoshop. NOTE Paragraph 00:00:24.000 --> 00:00:27.000 This is a jet landing at San Francisco, by Bruce Dale. 00:00:27.000 --> 00:00:30.000 He mounted a camera on the tail. 00:00:34.000 --> 00:00:37.000 A poetic image for a story on Tolstoy, by Sam Abell. 00:00:40.000 --> 00:00:42.000 Pygmies in the DRC, by Randy Olson. 00:00:42.000 --> 00:00:44.000 I love this photograph because it reminds me 00:00:44.000 --> 00:00:47.000 of Degas' bronze sculptures of the little dancer. 00:00:50.000 --> 00:00:55.000 A polar bear swimming in the Arctic, by Paul Nicklen. 00:00:55.000 --> 00:00:58.000 Polar bears need ice to be able to move back and forth -- 00:00:58.000 --> 00:01:00.000 they're not very good swimmers -- 00:01:00.000 --> 00:01:02.000 and we know what's happening to the ice. 00:01:04.000 --> 00:01:08.000 These are camels moving across the Rift Valley in Africa, 00:01:08.000 --> 00:01:10.000 photographed by Chris Johns. 00:01:11.000 --> 00:01:17.000 Shot straight down, so these are the shadows of the camels. 00:01:19.000 --> 00:01:21.000 This is a rancher in Texas, by William Albert Allard, 00:01:21.000 --> 00:01:24.000 a great portraitist. 00:01:25.000 --> 00:01:27.000 And Jane Goodall, making her own special connection, 00:01:27.000 --> 00:01:29.000 photographed by Nick Nichols. 00:01:32.000 --> 00:01:36.000 This is a soap disco in Spain, photographed by David Alan Harvey. 00:01:36.000 --> 00:01:38.000 And David said that there was lot of weird stuff 00:01:38.000 --> 00:01:40.000 happening on the dance floor. 00:01:40.000 --> 00:01:43.000 But, hey, at least it's hygienic. 00:01:43.000 --> 00:01:47.000 (Laughter) 00:01:47.000 --> 00:01:51.000 These are sea lions in Australia doing their own dance, 00:01:51.000 --> 00:01:53.000 by David Doubilet. 00:01:54.000 --> 00:01:58.000 And this is a comet, captured by Dr. Euan Mason. 00:02:00.000 --> 00:02:04.000 And finally, the bow of the Titanic, without movie stars, 00:02:04.000 --> 00:02:06.000 photographed by Emory Kristof. 00:02:11.000 --> 00:02:13.000 Photography carries a power that holds up 00:02:13.000 --> 00:02:17.000 under the relentless swirl of today's saturated, media world, 00:02:17.000 --> 00:02:19.000 because photographs emulate the way 00:02:19.000 --> 00:02:21.000 that our mind freezes a significant moment. NOTE Paragraph 00:02:21.000 --> 00:02:23.000 Here's an example. 00:02:23.000 --> 00:02:25.000 Four years ago, I was at the beach with my son, 00:02:25.000 --> 00:02:28.000 and he was learning how to swim 00:02:28.000 --> 00:02:31.000 in this relatively soft surf of the Delaware beaches. 00:02:32.000 --> 00:02:35.000 But I turned away for a moment, and he got caught into a riptide 00:02:35.000 --> 00:02:36.000 and started to be pulled out towards the jetty. 00:02:38.000 --> 00:02:41.000 I can stand here right now and see, 00:02:41.000 --> 00:02:44.000 as I go tearing into the water after him, 00:02:44.000 --> 00:02:47.000 the moments slowing down and freezing into this arrangement. 00:02:47.000 --> 00:02:51.000 I can see the rocks are over here. 00:02:51.000 --> 00:02:53.000 There's a wave about to crash onto him. 00:02:53.000 --> 00:02:56.000 I can see his hands reaching out, 00:02:56.000 --> 00:02:58.000 and I can see his face in terror, 00:02:58.000 --> 00:03:01.000 looking at me, saying, "Help me, Dad." 00:03:02.000 --> 00:03:04.000 I got him. The wave broke over us. 00:03:04.000 --> 00:03:06.000 We got back on shore; he was fine. 00:03:06.000 --> 00:03:08.000 We were a little bit rattled. 00:03:08.000 --> 00:03:12.000 But this flashbulb memory, as it's called, 00:03:12.000 --> 00:03:14.000 is when all the elements came together to define 00:03:14.000 --> 00:03:19.000 not just the event, but my emotional connection to it. 00:03:19.000 --> 00:03:21.000 And this is what a photograph taps into 00:03:21.000 --> 00:03:24.000 when it makes its own powerful connection to a viewer. NOTE Paragraph 00:03:24.000 --> 00:03:26.000 Now I have to tell you, 00:03:26.000 --> 00:03:28.000 I was talking to Kyle last week about this, 00:03:28.000 --> 00:03:30.000 that I was going to tell this story. 00:03:30.000 --> 00:03:32.000 And he said, "Oh, yeah, I remember that too! 00:03:32.000 --> 00:03:34.000 I remember my image of you 00:03:34.000 --> 00:03:36.000 was that you were up on the shore yelling at me." 00:03:36.000 --> 00:03:38.000 (Laughter) 00:03:38.000 --> 00:03:40.000 I thought I was a hero. 00:03:40.000 --> 00:03:41.000 (Laughter) NOTE Paragraph 00:03:41.000 --> 00:03:44.000 So, 00:03:44.000 --> 00:03:46.000 this represents -- this is a cross-sample of 00:03:46.000 --> 00:03:50.000 some remarkable images taken by some of the world's greatest photojournalists, 00:03:50.000 --> 00:03:53.000 working at the very top of their craft -- 00:03:53.000 --> 00:03:55.000 except one. 00:03:55.000 --> 00:03:58.000 This photograph was taken by Dr. Euan Mason 00:03:58.000 --> 00:04:00.000 in New Zealand last year, 00:04:00.000 --> 00:04:03.000 and it was submitted and published in National Geographic. 00:04:03.000 --> 00:04:05.000 Last year, we added a section to our website called "Your Shot," 00:04:05.000 --> 00:04:09.000 where anyone can submit photographs for possible publication. 00:04:09.000 --> 00:04:12.000 And it has become a wild success, 00:04:12.000 --> 00:04:15.000 tapping into the enthusiast photography community. 00:04:15.000 --> 00:04:17.000 The quality of these amateur photographs 00:04:17.000 --> 00:04:19.000 can, at times, be amazing. 00:04:19.000 --> 00:04:21.000 And seeing this reinforces, for me, 00:04:21.000 --> 00:04:24.000 that every one of us has at least one or two 00:04:24.000 --> 00:04:26.000 great photographs in them. NOTE Paragraph 00:04:26.000 --> 00:04:29.000 But to be a great photojournalist, 00:04:29.000 --> 00:04:31.000 you have to have more than just one or two 00:04:31.000 --> 00:04:33.000 great photographs in you. 00:04:33.000 --> 00:04:35.000 You've got to be able to make them all the time. 00:04:35.000 --> 00:04:38.000 But even more importantly, 00:04:38.000 --> 00:04:41.000 you need to know how to create a visual narrative. 00:04:41.000 --> 00:04:44.000 You need to know how to tell a story. 00:04:44.000 --> 00:04:46.000 So I'm going to share with you some coverages 00:04:46.000 --> 00:04:49.000 that I feel demonstrate the storytelling power of photography. NOTE Paragraph 00:04:51.000 --> 00:04:54.000 Photographer Nick Nichols went to document 00:04:54.000 --> 00:04:57.000 a very small and relatively unknown wildlife sanctuary 00:04:57.000 --> 00:04:59.000 in Chad, called Zakouma. 00:05:00.000 --> 00:05:02.000 The original intent was to travel there 00:05:02.000 --> 00:05:04.000 and bring back a classic story of diverse species, 00:05:04.000 --> 00:05:06.000 of an exotic locale. 00:05:06.000 --> 00:05:08.000 And that is what Nick did, up to a point. 00:05:08.000 --> 00:05:10.000 This is a serval cat. 00:05:10.000 --> 00:05:12.000 He's actually taking his own picture, 00:05:12.000 --> 00:05:14.000 shot with what's called a camera trap. 00:05:14.000 --> 00:05:16.000 There's an infrared beam that's going across, 00:05:16.000 --> 00:05:18.000 and he has stepped into the beam and taken his photograph. 00:05:18.000 --> 00:05:22.000 These are baboons at a watering hole. 00:05:23.000 --> 00:05:25.000 Nick -- the camera, again, an automatic camera 00:05:25.000 --> 00:05:27.000 took thousands of pictures of this. 00:05:27.000 --> 00:05:29.000 And Nick ended up with a lot of pictures 00:05:29.000 --> 00:05:31.000 of the rear ends of baboons. 00:05:31.000 --> 00:05:32.000 (Laughter) 00:05:32.000 --> 00:05:35.000 A lion having a late night snack -- 00:05:35.000 --> 00:05:37.000 notice he's got a broken tooth. 00:05:40.000 --> 00:05:43.000 And a crocodile walks up a riverbank toward its den. 00:05:43.000 --> 00:05:45.000 I love this little bit of water 00:05:45.000 --> 00:05:47.000 that comes off the back of his tail. NOTE Paragraph 00:05:49.000 --> 00:05:52.000 But the centerpiece species of Zakouma are the elephants. 00:05:52.000 --> 00:05:56.000 It's one of the largest intact herds in this part of Africa. 00:05:56.000 --> 00:05:58.000 Here's a photograph shot in moonlight, 00:05:58.000 --> 00:06:01.000 something that digital photography has made a big difference for. 00:06:01.000 --> 00:06:03.000 It was with the elephants that this story pivoted. 00:06:03.000 --> 00:06:07.000 Nick, along with researcher Dr. Michael Fay, 00:06:07.000 --> 00:06:09.000 collared the matriarch of the herd. 00:06:09.000 --> 00:06:11.000 They named her Annie, 00:06:11.000 --> 00:06:13.000 and they began tracking her movements. 00:06:13.000 --> 00:06:15.000 The herd was safe within the confines of the park, 00:06:15.000 --> 00:06:17.000 because of this dedicated group of park rangers. 00:06:17.000 --> 00:06:21.000 But once the annual rains began, 00:06:21.000 --> 00:06:24.000 the herd would begin migrating to feeding grounds outside the park. NOTE Paragraph 00:06:24.000 --> 00:06:26.000 And that's when they ran into trouble. 00:06:27.000 --> 00:06:29.000 For outside the safety of the park were poachers, 00:06:29.000 --> 00:06:33.000 who would hunt them down only for the value of their ivory tusks. 00:06:34.000 --> 00:06:36.000 The matriarch that they were radio tracking, 00:06:36.000 --> 00:06:39.000 after weeks of moving back and forth, in and out of the park, 00:06:39.000 --> 00:06:41.000 came to a halt outside the park. 00:06:41.000 --> 00:06:46.000 Annie had been killed, along with 20 members of her herd. 00:06:49.000 --> 00:06:51.000 And they only came for the ivory. 00:06:55.000 --> 00:06:57.000 This is actually one of the rangers. 00:06:57.000 --> 00:07:00.000 They were able to chase off one of the poachers and recover this ivory, 00:07:00.000 --> 00:07:02.000 because they couldn't leave it there, 00:07:02.000 --> 00:07:04.000 because it's still valuable. 00:07:04.000 --> 00:07:06.000 But what Nick did was he brought back 00:07:06.000 --> 00:07:10.000 a story that went beyond the old-school method 00:07:10.000 --> 00:07:12.000 of just straight, "Isn't this an amazing world?" 00:07:12.000 --> 00:07:16.000 And instead, created a story that touched our audiences deeply. 00:07:16.000 --> 00:07:18.000 Instead of just knowledge of this park, 00:07:18.000 --> 00:07:20.000 he created an understanding and an empathy 00:07:20.000 --> 00:07:22.000 for the elephants, the rangers and the many issues 00:07:22.000 --> 00:07:25.000 surrounding human-wildlife conflicts. NOTE Paragraph 00:07:26.000 --> 00:07:28.000 Now let's go over to India. 00:07:28.000 --> 00:07:31.000 Sometimes you can tell a broad story in a focused way. 00:07:31.000 --> 00:07:34.000 We were looking at the same issue that Richard Wurman 00:07:34.000 --> 00:07:37.000 touches upon in his new world population project. 00:07:37.000 --> 00:07:39.000 For the first time in history, 00:07:39.000 --> 00:07:43.000 more people live in urban, rather than rural, environments. 00:07:43.000 --> 00:07:45.000 And most of that growth is not in the cities, 00:07:45.000 --> 00:07:47.000 but in the slums that surround them. 00:07:48.000 --> 00:07:51.000 Jonas Bendiksen, a very energetic photographer, 00:07:51.000 --> 00:07:53.000 came to me and said, 00:07:53.000 --> 00:07:56.000 "We need to document this, and here's my proposal. 00:07:56.000 --> 00:07:59.000 Let's go all over the world and photograph every single slum around the world." 00:07:59.000 --> 00:08:02.000 And I said, "Well, you know, that might be a bit ambitious for our budget." 00:08:02.000 --> 00:08:04.000 So instead, what we did was 00:08:04.000 --> 00:08:07.000 we decided to, instead of going out and doing what would result 00:08:07.000 --> 00:08:09.000 in what we'd consider sort of a survey story -- 00:08:09.000 --> 00:08:12.000 where you just go in and see just a little bit of everything -- 00:08:12.000 --> 00:08:15.000 we put Jonas into Dharavi, 00:08:15.000 --> 00:08:17.000 which is part of Mumbai, India, 00:08:17.000 --> 00:08:19.000 and let him stay there, and really get into 00:08:19.000 --> 00:08:25.000 the heart and soul of this really major part of the city. 00:08:26.000 --> 00:08:28.000 What Jonas did was not just go and do a surface look 00:08:28.000 --> 00:08:31.000 at the awful conditions that exist in such places. 00:08:31.000 --> 00:08:34.000 He saw that this was a living and breathing and vital part 00:08:34.000 --> 00:08:36.000 of how the entire urban area functioned. 00:08:37.000 --> 00:08:39.000 By staying tightly focused in one place, 00:08:39.000 --> 00:08:42.000 Jonas tapped into the soul and the enduring human spirit 00:08:42.000 --> 00:08:44.000 that underlies this community. 00:08:46.000 --> 00:08:48.000 And he did it in a beautiful way. NOTE Paragraph 00:08:51.000 --> 00:08:54.000 Sometimes, though, the only way to tell a story is with a sweeping picture. 00:08:54.000 --> 00:08:57.000 We teamed up underwater photographer Brian Skerry 00:08:57.000 --> 00:08:59.000 and photojournalist Randy Olson 00:08:59.000 --> 00:09:02.000 to document the depletion of the world's fisheries. 00:09:02.000 --> 00:09:05.000 We weren't the only ones to tackle this subject, 00:09:05.000 --> 00:09:08.000 but the photographs that Brian and Randy created 00:09:08.000 --> 00:09:10.000 are among the best to capture both the human 00:09:10.000 --> 00:09:12.000 and natural devastation of overfishing. 00:09:12.000 --> 00:09:14.000 Here, in a photo by Brian, 00:09:14.000 --> 00:09:17.000 a seemingly crucified shark is caught up 00:09:17.000 --> 00:09:19.000 in a gill net off of Baja. 00:09:19.000 --> 00:09:22.000 I've seen sort of OK pictures of bycatch, 00:09:22.000 --> 00:09:24.000 the animals accidentally scooped up 00:09:24.000 --> 00:09:26.000 while fishing for a specific species. 00:09:26.000 --> 00:09:28.000 But here, Brian captured a unique view 00:09:28.000 --> 00:09:31.000 by positioning himself underneath the boat 00:09:31.000 --> 00:09:35.000 when they threw the waste overboard. 00:09:37.000 --> 00:09:39.000 And Brian then went on to even greater risk 00:09:39.000 --> 00:09:41.000 to get this never-before-made photograph 00:09:41.000 --> 00:09:43.000 of a trawl net scraping the ocean bottom. NOTE Paragraph 00:09:46.000 --> 00:09:48.000 Back on land, Randy Olson photographed 00:09:48.000 --> 00:09:50.000 a makeshift fish market in Africa, 00:09:50.000 --> 00:09:53.000 where the remains of filleted fish were sold to the locals, 00:09:53.000 --> 00:09:56.000 the main parts having already been sent to Europe. 00:09:56.000 --> 00:09:59.000 And here in China, Randy shot a jellyfish market. 00:10:00.000 --> 00:10:02.000 As prime food sources are depleted, 00:10:02.000 --> 00:10:04.000 the harvest goes deeper into the oceans 00:10:04.000 --> 00:10:06.000 and brings in more such sources of protein. 00:10:06.000 --> 00:10:09.000 This is called fishing down the food chain. NOTE Paragraph 00:10:09.000 --> 00:10:11.000 But there are also glimmers of hope, 00:10:11.000 --> 00:10:14.000 and I think anytime we're doing a big, big story on this, 00:10:14.000 --> 00:10:16.000 we don't really want to go 00:10:16.000 --> 00:10:18.000 and just look at all the problems. 00:10:18.000 --> 00:10:19.000 We also want to look for solutions. 00:10:19.000 --> 00:10:23.000 Brian photographed a marine sanctuary in New Zealand, 00:10:23.000 --> 00:10:25.000 where commercial fishing had been banned -- 00:10:25.000 --> 00:10:29.000 the result being that the overfished species have been restored, 00:10:29.000 --> 00:10:32.000 and with them a possible solution for sustainable fisheries. NOTE Paragraph 00:10:32.000 --> 00:10:35.000 Photography can also compel us to confront 00:10:35.000 --> 00:10:38.000 issues that are potentially distressing and controversial. 00:10:38.000 --> 00:10:42.000 James Nachtwey, who was honored at last year's TED, 00:10:42.000 --> 00:10:44.000 took a look at the sweep of the medical system 00:10:44.000 --> 00:10:47.000 that is utilized to handle the American wounded coming out of Iraq. 00:10:47.000 --> 00:10:50.000 It is like a tube where a wounded soldier enters on one end 00:10:50.000 --> 00:10:53.000 and exits back home, on the other. 00:10:53.000 --> 00:10:55.000 Jim started in the battlefield. 00:10:55.000 --> 00:10:59.000 Here, a medical technician tends to a wounded soldier 00:10:59.000 --> 00:11:01.000 on the helicopter ride back to the field hospital. 00:11:02.000 --> 00:11:04.000 Here is in the field hospital. 00:11:04.000 --> 00:11:07.000 The soldier on the right has the name of his daughter 00:11:07.000 --> 00:11:10.000 tattooed across his chest, as a reminder of home. 00:11:10.000 --> 00:11:14.000 From here, the more severely wounded are transported 00:11:14.000 --> 00:11:16.000 back to Germany, where they meet up with their families 00:11:16.000 --> 00:11:18.000 for the first time. 00:11:21.000 --> 00:11:25.000 And then back to the States to recuperate at veterans' hospitals, 00:11:25.000 --> 00:11:27.000 such as here in Walter Reed. 00:11:27.000 --> 00:11:29.000 And finally, often fitted with high-tech prosthesis, 00:11:29.000 --> 00:11:31.000 they exit the medical system and attempt 00:11:31.000 --> 00:11:33.000 to regain their pre-war lives. 00:11:33.000 --> 00:11:36.000 Jim took what could have been a straight-up medical science story 00:11:36.000 --> 00:11:40.000 and gave it a human dimension that touched our readers deeply. NOTE Paragraph 00:11:42.000 --> 00:11:44.000 Now, these stories are great examples 00:11:44.000 --> 00:11:46.000 of how photography can be used 00:11:46.000 --> 00:11:49.000 to address some of our most important topics. 00:11:49.000 --> 00:11:51.000 But there are also times when photographers 00:11:51.000 --> 00:11:53.000 simply encounter things that are, when it comes down to it, 00:11:53.000 --> 00:11:55.000 just plain fun. 00:11:55.000 --> 00:11:57.000 Photographer Paul Nicklin traveled to Antarctica 00:11:57.000 --> 00:11:59.000 to shoot a story on leopard seals. 00:11:59.000 --> 00:12:02.000 They have been rarely photographed, partly because they are considered 00:12:02.000 --> 00:12:04.000 one of the most dangerous predators in the ocean. 00:12:05.000 --> 00:12:07.000 In fact, a year earlier, a researcher had been 00:12:07.000 --> 00:12:09.000 grabbed by one and pulled down to depth and killed. 00:12:09.000 --> 00:12:11.000 So you can imagine Paul was maybe a little bit hesitant 00:12:11.000 --> 00:12:13.000 about getting into the water. 00:12:14.000 --> 00:12:17.000 Now, what leopard seals do mostly is, they eat penguins. 00:12:17.000 --> 00:12:19.000 You know of "The March of the Penguins." 00:12:19.000 --> 00:12:21.000 This is sort of the munch of the penguins. 00:12:21.000 --> 00:12:23.000 (Laughter) 00:12:24.000 --> 00:12:27.000 Here a penguin goes up to the edge and looks out 00:12:27.000 --> 00:12:29.000 to see if the coast is clear. 00:12:29.000 --> 00:12:32.000 And then everybody kind of runs out and goes out. NOTE Paragraph 00:12:35.000 --> 00:12:37.000 But then Paul got in the water. 00:12:37.000 --> 00:12:40.000 And he said he was never really afraid of this. 00:12:40.000 --> 00:12:42.000 Well, this one female came up to him. 00:12:42.000 --> 00:12:45.000 She's probably -- it's a shame you can't see it in the photograph, 00:12:45.000 --> 00:12:47.000 but she's 12 feet long. 00:12:47.000 --> 00:12:49.000 So, she is pretty significant in size. 00:12:50.000 --> 00:12:51.000 And Paul said he was never really afraid, 00:12:51.000 --> 00:12:54.000 because she was more curious about him than threatened. 00:12:54.000 --> 00:12:56.000 This mouthing behavior, on the right, 00:12:56.000 --> 00:12:59.000 was really her way of saying to him, "Hey, look how big I am!" 00:12:59.000 --> 00:13:02.000 Or you know, "My, what big teeth you have." 00:13:02.000 --> 00:13:03.000 (Laughter) 00:13:03.000 --> 00:13:05.000 Then Paul thinks that she simply took pity on him. 00:13:05.000 --> 00:13:09.000 To her, here was this big, goofy creature in the water 00:13:09.000 --> 00:13:11.000 that for some reason didn't seem to be interested 00:13:11.000 --> 00:13:13.000 in chasing penguins. 00:13:13.000 --> 00:13:17.000 So what she did was she started to bring penguins to him, 00:13:17.000 --> 00:13:20.000 alive, and put them in front of him. 00:13:20.000 --> 00:13:23.000 She dropped them off, and then they would swim away. 00:13:23.000 --> 00:13:25.000 She'd kind of look at him, like "What are you doing?" 00:13:25.000 --> 00:13:28.000 Go back and get them, and then bring them back 00:13:28.000 --> 00:13:30.000 and drop them in front of him. 00:13:30.000 --> 00:13:33.000 And she did this over the course of a couple of days, 00:13:33.000 --> 00:13:35.000 until the point where she got so frustrated with him 00:13:35.000 --> 00:13:38.000 that she started putting them directly on top of his head. 00:13:38.000 --> 00:13:40.000 (Laughter) 00:13:40.000 --> 00:13:43.000 Which just resulted in a fantastic photograph. 00:13:43.000 --> 00:13:46.000 (Laughter) 00:13:46.000 --> 00:13:49.000 Eventually, though, Paul thinks that she just figured 00:13:49.000 --> 00:13:51.000 that he was never going to survive. 00:13:51.000 --> 00:13:54.000 This is her just puffing out, you know, 00:13:54.000 --> 00:13:56.000 snorting out in disgust. 00:13:56.000 --> 00:13:58.000 (Laughter) 00:13:58.000 --> 00:14:01.000 And lost interest with him, and went back to what she does best. NOTE Paragraph 00:14:01.000 --> 00:14:03.000 Paul set out to photograph a relatively 00:14:03.000 --> 00:14:05.000 mysterious and unknown creature, 00:14:05.000 --> 00:14:07.000 and came back with not just a collection of photographs, 00:14:07.000 --> 00:14:10.000 but an amazing experience and a great story. 00:14:11.000 --> 00:14:13.000 It is these kinds of stories, 00:14:13.000 --> 00:14:16.000 ones that go beyond the immediate or just the superficial 00:14:16.000 --> 00:14:18.000 that demonstrate the power of photojournalism. 00:14:19.000 --> 00:14:24.000 I believe that photography can make a real connection to people, 00:14:24.000 --> 00:14:27.000 and can be employed as a positive agent 00:14:27.000 --> 00:14:29.000 for understanding the challenges and opportunities 00:14:29.000 --> 00:14:31.000 facing our world today. 00:14:31.000 --> 00:14:32.000 Thank you. 00:14:32.000 --> 00:14:36.000 (Applause)