 very legendary Robert Kappa there. Now I've always taken that to believe that you know you need to be physically close to create really great images. You need to get closer and then closer and then close until some sort of magic happens and you go well I've now entered the realm of greatness. Of course that's not strictly true and not really what Robert Kappa was driving at with these this great quote. He was more imploring us to be well in one case physically close yes but also emotionally close to be invested in the thing that we are photographing. There's no greater example of this certainly in Robert Kappa's work than the D-Day landing images where he was within you know the first wave of soldiers going shore in France you know being shot at and the bullets all that kind of you know mayhem and fear and it comes across in these visceral photographs that also were damaged when they were being processed which lends them that air of that air of chaoticness. Now that's an example of both being physically close and emotionally invested as well but the two are not married you can be emotionally invested in a photograph even at a distance. Think about a landscape you can't be necessarily close to a landscape can you you know it's it's a giant thing especially if you're photographing mountains and forests and grand sweeping vistas but you can be emotionally invested. Ansel Adams was emotionally invested in the Sierras and you know was instrumental in forming the that that club in America whose name completely escapes me I think it is the Sierra Club but that's one form. Modern day in the modern world people are being you know seeing their forests and the things that they love going up in smoke and they are emotionally connected to it. Imagine being a photojournalist on the ground they're taking pictures of those french firefighters who are in tears because the forests that they love are being reduced to cinders. If your images do not have that connection if you're not close to either physically and emotionally then how can you expect your viewer to have the same the same connection how can you expect them to invest in your images if you haven't invested some of yourself in them either. If your photographs are not good enough it's because you are not close enough. Do you see now how that is becoming more and more than just a simple commandment to be physically closer? Take some time to think about why it is that you are wanting to photograph this thing. What is it about the the subject that you have in your viewfinder that you find interesting? Tap into yourself a little bit ask yourself why what is it that intrigues me about this? How can I communicate that feeling to the person who's going to look at my photograph? What we're driving at here is that if you are not thinking about the grand picture if you're not thinking about the the impact that this photograph is going to have on yourself or maybe even your viewer then you're missing a trick. It doesn't have to be an amazingly wild deep meaningful image but it needs to have some sort of investment in emotion from you and you are capable of doing that if you just open yourself up to thinking about how close you are to that thing in front of you.