• In the age of camera phones, anyone can be a photographer.
• You don't need fancy gear or multiple lenses to take good pictures.
• I asked a National Geographic photographer how to make the most of the camera in your pocket.

Getting a degree in photography gave me the chance to work with all kinds of complex cameras, like the ones you see in old movies, where the operator puts a cloak over their head.

By the time I graduated, I was more comfortable with DSLRs and film cameras than the one in my pocket.

As a travel reporter, my work revolves around documenting the places I'm visiting. For some of that imagery, I've come to rely on my smallest, most nimble camera — my phone. So, in April 2022, I set out to improve my phone-photography skills.

And just like in school, I wanted to learn from a pro.

That's why I turned to Kiliii Yüyan, a National Geographic photographer who tells stories about cultures and their environments.

The magazine first published Yüyan's work in 2018, showcasing whale hunters in Alaska, he told Business Insider. Then, in 2023, National Geographic granted Yüyan the Eliza Scidmore Award for outstanding storytelling for his portfolio work, which included his July 2022 cover shot for a story documenting the lives of Indigenous people.

Yüyan said that nowadays, people are "drowning in photographs," but that doesn't mean yours have to look like everyone else's. There are ways to make your images stand out — even if you're just shooting on your phone.

Thousands of small, often obsolete dams are blocking fish migrations across the United States. In this piece, Ben Goldfarb explores the growing movement to remove these barriers—despite political, economic, and emotional obstacles. He asks, “Can government agencies and conservation groups pick up the pace of dam removal while fish are still around to benefit?”

The Eastern Seaboard’s most enthusiastic purger of dams has long been Plymouth, Massachusetts, and one weekend I visited during its Herring Festival, a celebration of the resurgent alewife population that annually runs up Town Brook, the stream at Plymouth’s heart. The day was cool and damp, and I followed a posse of dads in Red Sox sweatshirts and kids in rainboots up the path that paralleled the creek. Someone had chalked “LOOK FISH” on the asphalt, and I glanced streamward to find alewives holding in small pods, weaving around each other in their effortless way. 

Zohran Mamdani has places to be.

At 35, the mayor of New York City knows how to catch — and keep — people's attention. It's tempting to think the key to Mamdani's success is Instagram, but the secret sauce of his leadership isn't just a social media machine. It's a man criss-crossing the five boroughs with a portable podium and the occasional sugar-free Red Bull.

To better understand how his in-person ubiquity shapes public perception, Business Insider spent the summer tracking the mayor's daily schedule. From May 1 to August 31, Mamdani had 249 listed appointments, 170 of which were held in public. Eighty-one of these were in community spaces such as classrooms, libraries, parks, apartment buildings, tennis courts, places of worship, and restaurants.

Another 50 were government events at emergency preparedness centers and police precincts. With the exception of Staten Island — which Mamdani visited three times — his appearances dotted the city. He spent the most time in Manhattan with 85 events, followed by Brooklyn (35), the Bronx (26), and Queens (21). He made few appearances in City Council chambers and other traditional political arenas. At the mayor's home, Gracie Mansion, there were no press conferences. Instead, Mamdani hosted 10 cultural receptions, pickup soccer games, and religious celebrations.

At a time when C-suite bigwigs are delivering bad news via canned memo, and politicians are mediating their message through glossy election mailers, dozens of political analysts, media strategists, historians, and people in the mayor's orbit say that Mamdani's man-about-town style stands out.

What makes Mamdani a lesson in charisma is his ability to combine four important factors: physical presence, personal authenticity, political messaging, and active participation, a review of his nearly first year shows.

He's able to be in on the joke — poking fun at his omnipresent suit by jumping into a pool, tie and all — while still getting his message across. They're a regular part of his schedule, rather than a surprise one-off that feels like it was cooked up by a communications staffer. It's not an easy balance to strike, but the mayor's in-person events lay out a road map for other leaders.

Showing up doesn't solve all problems, and nine months into his tenure, the mayor has met his fair share of critics. Glad-handing with a few CEOs and small business owners doesn't replace the need to attract investment from blue-chip companies and buzzy startups. Despite his push for affordability, he has yet to substantially lower residents' household bills.

But his supporters and critics agree that the mayor has a natural talent for connection, turning mundane events into meaningful moments with constituents. He fuses human connection and mass media to turn heads in the cutthroat attention economy. Whether it's cheering on the Knicks in the nosebleeds of Madison Square Garden or ordering an egg and cheese with jalapeño at a Queens bodega, Mamdani knows how to see and be seen.

Between a crammed row of treadmills and elliptical machines, Mamdani straightened his blazer and stepped up to the microphone. The East Village recreation center smelled like sweat, dust, and takeout coffee. Events like this one in early July, which touted new rules to make it easier for people to cancel subscriptions, are a signature way to promote his agenda. As the images circulated online, New Yorkers could imagine Mamdani on the rowing machine next to them, complaining about how hard it was to get out of a pesky membership.

All mayors go to ribbon-cutting ceremonies and attend parades. Mamdani's retail politics events also include everyday New Yorkers in everyday settings. He gave only a few keynote speeches this summer, but he found time to visit three senior centers, seven schools, and a soccer watch party at Rikers Island. A sentiment expressed by dozens of residents is that, regardless of their personal politics, they respect Mamdani for coming to their neighborhoods. One Central Park halal vendor says he feels like the mayor understands how pricey food can be these days. A Staten Islander who has met Mamdani — and filmed a video with him — was shocked that he could rattle off deep-cut Sri Lankan cricket trivia.

Debbie Saslaw runs the video production company Melted Solids alongside Anthony DiMieri. The pair are the brains — and lenses — behind some of Mamdani's viral videos. While much has been said about the mayor's knack for social media, Saslaw says his penchant for physical presence is crucial to making his short-form videos effective. Saslaw recalls a day early in the mayoral campaign when they visited a park to chat with picnickers. She figured no one would want to speak with an underdog candidate on what turned out to be a very rainy afternoon.

"People were honking out from their cars, and one guy waved from his apartment window," she tells me. "People were stopping their bikes — there was a bike pileup."

Moments like that become social media content: More than 80 in-person events this summer earned posts on the NYCMayor Instagram — largely photos and videos of Mamdani with regular people. Only a handful of posts were policy announcement graphics or highly produced mini-documentaries.

Some critics say the energy the mayor puts into engagement is a distracting gimmick that diverts attention from controversial policies or a lack of meaningful accomplishments. With hundreds of events over the summer, Mamdani's time to negotiate and pass policies within City Hall is limited. At least on the books, his schedule shows he met with local political leaders a handful of times between May and August. On the other hand, for all but 25 of 122 days, he attended at least one public event.

The city's business leaders, in particular, say Mamdani hasn't spent enough time learning from corporate advisors, economists, or local shop owners. Of Mamdani's 249 listed events, six were with CEOs or Wall Street execs, and only a few were with small business owners. By comparison, he met childcare and day care workers more than a dozen times. While former communications leaders for Bill de Blasio and Eric Adams say past mayors have also limited their time in boardrooms and offices ("their job is to be out there," one tells me), some small-business owners feel they're getting short shrift from Mamdani as well. A vendor near one of his planned city-owned grocery stores says she feels left out of the conversation, "You're going to spend all this money on building this new infrastructure, and the basic things that we have been asking for don't get done."

Those less convinced by Mamdani's tactics say the resources the Mayor's Office pours into communications are a smokescreen. Mark Jaffe, a founder of NYC's Multicultural Business Coalition who is suing the administration over its city-run grocery store initiative, says that while Mamdani "gets people's attention," the substance is coming up short.

"He knows the issues," Jaffe says. "He just doesn't come up with good plans that can actually solve them through jobs and capitalism."

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Mamdani's propensity for kissing babies and waltzing into bars has both practical and historical grounding. As people spend more of their lives conversing with AI customer service bots, half-engaged with corporate Zoom meetings, and watching political attack ads between TV episodes, they're starving for more intimate, authentic connections. When C-suite leaders and politicians try to connect with people, it can yield limited success. Whether it's a fast-food CEO taking tiny bites out of a burger and calling it a "product," tech execs looking unconvincing as they sip beer, or politicians filming stilted selfie videos, attempts to add a personal touch through a mediated platform can leave people cold.

"We are, at our core, social creatures who need to connect, and we did not evolve to connect only digitally," Amy Edmondson, a professor of leadership and management at Harvard Business School, tells me.

Mamdani is trying to resurrect a bygone era for New York City politicians — with his own new-school sheen. Mayoral calendars aren't publicly posted, and changes in record keeping, news coverage, and technology make comparisons imperfect. But historians and communications directors under previous administrations say that recent mayors struggled with the perception of being distant from their constituents.

A longtime New Jersey homeowner, Eric Adams drew criticism for his international travel and trips to exclusive nightclubs. Michael Bloomberg's billionaire status made him less relatable to regular people, NYC historian Kevin Draper tells me, even when he made an effort to meet residents around town. Bill de Blasio had a Mamdani-esque focus on affordability but, based on his dismal approval ratings throughout his mayoralty, failed to connect on a personal level. Former communications directors for de Blasio and Adams say they both had their go-to outer-borough neighborhoods, but neither had Mamdani's widespread reach.

Timing was a factor: Those two leaders tended to work later into the night, whereas the current mayor makes stops around the city much earlier. Draper says youth is also a leg up that Mamdani has over his predecessors. My analysis shows that Mamdani attended at least one event on 97 of his 122 days this summer, averaging more than two per day, and a third of these were out in the community. On busy days, he made up to seven stops.

"He has had a longer honeymoon than any other mayor," José Bayona, who worked under the Adams and de Blasio administrations, says with a laugh. "I can tell you that."

Mamdani has said he emulates Depression-era Mayor Fiorello La Guardia, who launched an early version of city-owned stores and primarily focused messaging toward the working class with his "Talk with the People" radio program. He also evokes Ed Koch, the relatively moderate mayor who dominated the 1980s, who was known for strolling the streets and riding the train, asking residents, "How'm I doin'?" The style's lineage stretches back to the 19th century, when candidates and elected officials would drum up support by giving speeches and meeting the public in their saloons and town squares. Members of Tammany Hall, a highly corrupt but popular New York City political machine, focused on in-person interactions with the working class.

There are, of course, challenges to the mayor's attempts at everyman charisma. On a practical level, it's much harder for Mamdani to show up at a sports bar these days without serious planning and a security detail. And even with sharp messaging and the reputation for popping up in unexpected places, the complexities of policy rollout and city politics have slowed his attempts to transform New York.

Mamdani is early enough in his term that he can get away with having big plans that haven't been realized, riding high on a banner sports summer and pothole politics. But as he approaches his second year in office, his constant presence outside City Hall and prolific digital footprint could become more of a liability than an asset. As Edmondson puts it: "There's always a risk of disappointment when people believe that, in your back pocket, you have a magic wand."

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Interactive graphic by Randy Yeip.

In this edition:
ㆍBefore/after
ㆍMany/one
ㆍAthlete/human
ㆍSilent/spoken
ㆍGame/mystery

If you make time for one 9/11 anniversary story this year, make it Garrett M. Graff’s piece. This is no mere retrospective. For National Geographic, Graff takes us through that Tuesday morning 25 years ago to explain how America lost its sense of security, minute-by-minute on the morning of September 11, 2001.

It was now 8:53 a.m. There were just 10 minutes left in America as we knew it.

FBI director Robert Mueller was in his first week on the job, sitting in his office suite on the seventh floor of the J. Edgar Hoover Building in Washington. . . .Toward the end of the meeting, someone interrupted to tell Mueller a plane had crashed in New York. Sitting in a briefing on al Qaeda, deep in a conversation about terrorism, Mueller turned and looked out the window at the blue sky beyond and asked, “How could a plane not see the tower? It’s so clear out today.”

Truthfully, terrorism in 2001 just wasn’t something most Americans thought about, outside of the movies or the occasional evening news story or headline. It was a plot device for thrillers, not a perpetual source of anxiety at shopping malls, schools, or public events. And even in the cinema, the “terrorists” were less ideological enemies doing existential battle against the Great Satan and more often the disgruntled genius or vaguely European criminal mastermind. Think Dennis Hopper’s villainous former bomb squad officer in the 1994 blockbuster Speed or Alan Rickman’s turn as the suave, ruthless radical Hans Gruber in Die Hard.

At one time, Rachel Hartigan edited The Washington Post’s Book World. During a 12-year stint as a writer, reporter, and editor with National Geographic, she covered everything from the genetics of persimmon trees to the long road to women’s suffrage. 

She spoke with Brendan O’Meara, host of The Creative Nonfiction Podcast, about being a self-taught writer, how being open to opportunity can change your career, and how editing others can help you improve your own writing.

Hartigan’s first book, Lost: Amelia Earhart’s Three Mysterious Deaths and One Extraordinary Life, both a biography of the aviator’s life and a survey of the leading theories surrounding her death and disappearance, is now available. 

This conversation has been edited for pacing and flow. 

—Krista Stevens

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Brendan: What did your career look like in your head at the start, and how did that change?

Rachel: I was not a kid with a clear version of what I wanted to do. I really like to read, to write, and to learn things. My parents were quite aggravated with me because they had spent a lot of money to educate me. I tried being a paralegal at a legal publishing company and then at the Nevada State Legislature. I was probably lounging on the sofa when my dad came in and slapped a Harper’s Magazine on me and said, “There are internships there. You should apply to that.” OK, it’s in New York. I have friends in New York, so that’s what I did, and somehow I got it. My career has not been a straight path; it’s been a lot of happenstance where I somehow get a job and figure out how to do it once I’m there. People come to me with plans and say, “I’m going to do this, this, and this,” but that’s not my mindset. I wish I was more like that. My career is always a surprise to me.

Brendan: With pursuing something a bit squishy, like writing, how did you deal with the pressure of expectation and the burden to prove yourself to your peers and your parents?

Rachel: My parents weren’t too bad; I was harder on myself because I never went to journalism school. I have always felt like an apprentice, like I’m still figuring it out. It’s only recently that I feel like I know how to do this. I know how to structure something. I know how to get a reader going, but I never felt like I had the right credentials. One reason I’ve gone back and forth with writing and editing—and I feel like each one has helped the other—is because it’s much easier to spot the weaknesses in somebody else’s draft than in mine. Sometimes it’s harder to do with your own prose.

Brendan: An apt metaphor, be it someone else’s work or your own, is looking under the hood like a mechanic to see how things are working, whether everything’s moving as it should. How do you revisit text or analyze work that inspires you, so you can learn from it and apply it to your own work?

Rachel: I have a copy of David Grann’s The Lost City of Z where I wrote down what each paragraph was doing, and what each chapter was doing, trying to figure out how he balanced telling a historical tale—the story of those who were looking for Percy Fawcett—as well as his own story. I used to do that with features I liked, or if I was assigned a feature and I had no idea how to go about it, I would look at similar ones, whether from my colleagues or from other publications, and break down the structure. It gets you over the hump of the blank page because you don’t have to worry about how you start your masterpiece. You’re just like, nope, this is what this paragraph has to do.

Brendan: How have you cultivated that sense of voice over your writing career? 

Rachel: I’ve been a journalist for a very long time. Clarity has always been a priority, especially at National Geographic. When I was writing scientific stories, some of them had to be really, really short. It’s front-of-book for the magazine, and it’s almost like writing poetry because every word has to count. If you’re doing something complicated, you have to think about how the reader is taking it in. Is this clear to the reader? Is the reader going to want to read the next paragraph? Where is the momentum? I’m thinking about that a lot. I’m trying to remember that I’m in partnership with a reader, and they need to understand what I’m writing about.

Brendan: How do you approach interviewing as a skill and as a craft?

Rachel: I always have my questions, but I’m not an aggressive interviewer. I like to let people talk, and I like to use people’s own words in my writing. I like to hear people’s voices, so I am probably a minimalist interviewer, though I wouldn’t say a minimalist reporter. But for instance, when I went on expeditions to Nikumaroro—an island where some think Amelia Earhart died as a castaway—I felt like I was a spy and an eavesdropper. I would interview people and ask them what they were doing, but mostly I was trying to watch and listen and see how people were doing, and I hoped they would forget I’m there. 

Brendan: I love what you said at the start of your book, about being bored with your job working on tiny morsels for the magazine, bored with your marriage to another deskbound journalist, and most of all, bored of yourself. Take us to that moment, this middle-age malaise, this boredom.

Rachel: I was in my little cubicle writing and editing for the front-of-book, which was fairly routine. I knew what was happening: This week and the next was writing, and the next week was editing. My son was in school, so there was his school routine, and I just didn’t know what I wanted to do next. The writing and editing for the front-of-book had become pretty easy, and I felt somewhat underemployed. But here I am again at my desk, and literally, one of the editors at Nat Geo, Glenn Oeland, stopped me in the hallway and said, “We have a berth on this ship going out to an island in the Pacific. Do you want to go?” And I said yes, and I really had no idea where I was going.

When I started at Nat Geo, I had been a book review editor at the The Washington Post, which is a very desk-bound job. I had no idea what I was doing, so I said yes to things, which up until that point wasn’t anything hugely dramatic. So this was the biggest yes. I realized it wasn’t just a yes that I had to say, but I also had to get buy-in from my then-husband and my son, who was 12 at the time. I had to think about all the details involved in going to a place like this. I had never been on a ship; I had never been anywhere tropical. But once I got on the ship, I focused on doing the story, and it felt like a huge weight fell off my shoulders, even though I was very seasick at first. But once the preparation is over, you immerse yourself in the story and the people, trying to figure out the dynamics of what you need to find out. It’s such a flow state. 

My career has not been a straight path; it’s been a lot of happenstance where I somehow get a job and figure out how to do it once I’m there.

Brendan: And as you’re reporting and tackling the project at large, it can be overwhelming to think about the scope of it. Thinking: This is going to be a book. How do I even do that? In what way did this book stretch you? 

Rachel: I did two expeditions, one looking for Amelia Earhart’s bones, and the other with Robert Ballard, who is the man who found the Titanic, looking for her plane in the waters around the island. So it was fairly clear what the stories were. But once I got back from the second expedition and started thinking about doing a book on it, I was really struggling. For one thing, we never found anything. We still don’t know what happened to her. So, is there really a book here? And if there is a book, how do I write about all these different things? At least four narratives needed to be tackled. I could have just written a book that theorized what happened to her. I was frustrated when writing news stories because it was mostly about the search for her, not as much about Earhart herself. I didn’t know that much about her beyond what we learn in elementary school: a groundbreaking aviator disappears. I really wanted something that incorporated more of her biography. So that would be one narrative. But then there’s all the theories and the people who pursued them, and it’s all very involved. I had a hard time figuring out how to braid all those strands together.

Brendan: You came up with a three-part structure: captured, castaway, and sank. How did you arrive at three “deaths of Amelia” as the scaffolding to weave these stories around?

Rachel: It was challenging to figure out how to approach each theory, how to lay it out in a way that wouldn’t be utterly baffling to the reader. The first way I tried was utterly baffling to my editor, so I had to have another go. I was trying to do it almost chronologically, which involved all the theories all at once, and it would have been very difficult. So instead, I decided to alternate between the biography chapters and one theory at a time, starting from the least likely to the most likely. I don’t advocate for any one theory in the book, but part of the reason I wanted to start with the least likely is that it’s also the most exciting.

Brendan: You mention that there have been solid biographies written about Earhart. I imagine that as you were looking to sell this book, you were wondering about what can be said that hasn’t already been said? How did you approach selling a new book on Amelia Earhart?

Rachel: In my darkest moments, I’m like, who needs this book? I don’t know. There had been some good biographies, and a lot of the different searchers had written books arguing for what they think happened. There hadn’t really been a book that combined it all, and there hadn’t been a book that contextualized the searches. I think that’s what helped sell the book. 

Brendan: I love the first third of the book or so. You write that she wanted a life of purpose and she couldn’t imagine finding it in a purely domestic existence. What do you think she was so, almost at ease, with bucking societal norms of the time?

Rachel: I think she was interested in what was new, in new experiences, in new technology; having a life where things basically stayed the same just would have been the end of her. I just don’t think she would have been able to handle that. She had an unstable childhood, but her parents did well. They had two girls, and when the girls wanted a BB gun, they got a BB gun. Her mom sewed them rompers so that they could actually play rather than being constricted in dresses. She was raised to be herself, basically, and I think she never learned how to shut that down, which is wonderful. She was always looking for what she could do beyond what was expected of her, you know, how can I be what I want to be when society expects me to be a certain way? It’s a question that we all still struggle with. And she was pretty eloquent about wanting people to be able to do what they wanted.

Listen to the full conversation below.