Let's just start by looking at some great photographs. This is an icon of National Geographic, an Afghan refugee taken by Steve McCurry. But the Harvard Lampoon is about to come out with a parody of National Geographic, and I shudder to think what they're going to do to this photograph. Oh, the wrath of Photoshop.
让我们首先来看一些优秀的摄影作品 这幅由史蒂夫·麦考瑞拍摄的阿富汗女孩 是《国家地理》杂志的标志性作品之一 听说《哈佛讽刺》杂志准备出版一期 山寨版的《国家地理》 我不敢想象他们打算怎么处理这幅照片 或许会被 Photoshop 得惨不忍睹
This is a jet landing at San Francisco, by Bruce Dale. He mounted a camera on the tail. A poetic image for a story on Tolstoy, by Sam Abell. Pygmies in the DRC, by Randy Olson. I love this photograph because it reminds me of Degas' bronze sculptures of the little dancer. A polar bear swimming in the Arctic, by Paul Nicklen. Polar bears need ice to be able to move back and forth -- they're not very good swimmers -- and we know what's happening to the ice. These are camels moving across the Rift Valley in Africa, photographed by Chris Johns. Shot straight down, so these are the shadows of the camels. This is a rancher in Texas, by William Albert Allard, a great portraitist. And Jane Goodall, making her own special connection, photographed by Nick Nichols. This is a soap disco in Spain, photographed by David Alan Harvey. And David said that there was lot of weird stuff happening on the dance floor. But, hey, at least it's hygienic. (Laughter) These are sea lions in Australia doing their own dance, by David Doubilet. And this is a comet, captured by Dr. Euan Mason. And finally, the bow of the Titanic, without movie stars, photographed by Emory Kristof. Photography carries a power that holds up under the relentless swirl of today's saturated, media world, because photographs emulate the way that our mind freezes a significant moment.
这幅喷气机降落在旧金山的照片由布鲁斯·戴尔拍摄 他把相机绑在了飞机垂直尾翼上 这幅充满诗意的照片是山姆·阿贝尔为一篇介绍托尔斯泰的文章拍摄 蓝迪·奥森在刚果民主共和国拍摄的俾格米人 我很喜欢这幅照片 它让我想起了德加的著名铜铸雕像《小芭蕾舞者》 保罗·尼克林拍摄的北极熊 北极熊并不擅长游泳 它们更喜欢在冰面上跳来跳去 不过大家都知道让它们蹦蹦跳跳的地方不多了 这些是东非大裂谷地区的驼队 克里斯·琼斯拍摄 照片从正上方拍摄,画面中看到的实际是骆驼的影子 这幅德州的牧场主照片由威廉·阿尔伯特·阿拉德拍摄 威廉是一个优秀的人像摄影师 这是一幅珍妮·古道尔的工作照 尼克·尼古拉斯拍摄 这是大卫·阿伦·哈维在西班牙一个浴池迪吧拍摄的照片 大卫说在舞池里发生的一些事 简直让人难以想像 不过,至少那里比较卫生 (大笑) 澳大利亚的海狮在表演它们自己的舞蹈 大卫·杜比列拍摄 这是尤安·曼森博士拍摄的一幅彗星 最后一张,没有电影明星的泰坦尼克船首像 由埃默里·克里斯托弗拍摄 尽管媒体的五光十色已经将一切吞噬 但摄影依旧保持着自己的力量 摄影代表着我们心灵 记录那些重要瞬间的一种方式
Here's an example. Four years ago, I was at the beach with my son, and he was learning how to swim in this relatively soft surf of the Delaware beaches. But I turned away for a moment, and he got caught into a riptide and started to be pulled out towards the jetty. I can stand here right now and see, as I go tearing into the water after him, the moments slowing down and freezing into this arrangement. I can see the rocks are over here. There's a wave about to crash onto him. I can see his hands reaching out, and I can see his face in terror, looking at me, saying, "Help me, Dad." I got him. The wave broke over us. We got back on shore; he was fine. We were a little bit rattled. But this flashbulb memory, as it's called, is when all the elements came together to define not just the event, but my emotional connection to it. And this is what a photograph taps into when it makes its own powerful connection to a viewer.
给大家讲一个真实的故事吧 四年前我和我的小孩一起去海边玩耍 那时他刚开始学游泳 德拉华海滩的浪并不是太大 可是偏偏在我转身的一瞬间接连两个浪头把他卷进了海里 他拼命的向着岸边挣扎 我现在还能回想到当时的情景 我扎进水里,向他游去 一切就好像是慢镜头浮现在我眼前 我还记得这边是一滩礁石 那边是正要砸向他的浪头 他向我伸出双手 脸上充满恐惧的表情 对着我大叫“爸爸,救救我” 终于我抱住了他,浪打在我们身上 我们回到了岸边,尽管他什么事也没有 但我们还是被吓坏了 这一切就仿佛一张照片定格在我的脑海 画面中的一切都是如此清晰 不光纪录了这件事,还包含我所有的情感 这正是摄影的意义 摄影作品与观众之间建立了一种情感上的联系
Now I have to tell you, I was talking to Kyle last week about this, that I was going to tell this story. And he said, "Oh, yeah, I remember that too! I remember my image of you was that you were up on the shore yelling at me." (Laughter) I thought I was a hero. (Laughter)
坦白的告诉大家 上个星期我告诉我儿子 我打算在这里把这件故事将给大家听 他说:“噢,我也记得这件事 我还记得当时的你 站在岸边紧张大叫的样子” (笑声) 我还以为这小子把我当英雄的 (笑声)
So, this represents -- this is a cross-sample of some remarkable images taken by some of the world's greatest photojournalists, working at the very top of their craft -- except one. This photograph was taken by Dr. Euan Mason in New Zealand last year, and it was submitted and published in National Geographic. Last year, we added a section to our website called "Your Shot," where anyone can submit photographs for possible publication. And it has become a wild success, tapping into the enthusiast photography community. The quality of these amateur photographs can, at times, be amazing. And seeing this reinforces, for me, that every one of us has at least one or two great photographs in them.
谁知道…… 回到正题 刚才大家看到的是一系列顶尖职业摄影师 的巅峰作品 只有一张例外 这幅照片是尤安·曼森博士 去年在新西兰拍摄的 随后提交并刊登在《国家地理》杂志上 去年我们网站开通了一个新的栏目“读者作品” 大家可以提交自己的摄影作品,择优刊发 这个栏目获得了巨大的成功 受到摄影爱好者的广泛好评 业余摄影爱好者们 总能在不经意间拍出一两张不错的作品 每当我看到这些作品总会更加认同这一观点 我们每个人一生中 都至少拍到一两张不错的照片
But to be a great photojournalist, you have to have more than just one or two great photographs in you. You've got to be able to make them all the time. But even more importantly, you need to know how to create a visual narrative. You need to know how to tell a story. So I'm going to share with you some coverages that I feel demonstrate the storytelling power of photography.
但是作为一位优秀的摄影记者 一两张照片 是远远不够的 除了保证自己能不断拍出好的作品 作为一名专业摄影师更重要的 是让自己的照片活起来 优秀的摄影师必须知道如何用照片叙事 我给大家看几个例子 让大家从中感受摄影的叙事力量
Photographer Nick Nichols went to document a very small and relatively unknown wildlife sanctuary in Chad, called Zakouma. The original intent was to travel there and bring back a classic story of diverse species, of an exotic locale. And that is what Nick did, up to a point. This is a serval cat. He's actually taking his own picture, shot with what's called a camera trap. There's an infrared beam that's going across, and he has stepped into the beam and taken his photograph. These are baboons at a watering hole. Nick -- the camera, again, an automatic camera took thousands of pictures of this. And Nick ended up with a lot of pictures of the rear ends of baboons. (Laughter) A lion having a late night snack -- notice he's got a broken tooth. And a crocodile walks up a riverbank toward its den. I love this little bit of water that comes off the back of his tail.
摄影师尼克·尼古拉斯前去乍得 拍摄一个很小、名气也不大的野生动物保护中心 扎库玛国家公园 最初的动机只不过是去随意走走 并拍摄一些充满异国情调的 野生动物图片 尼克在一开始也正是这么做的 这是一只薮猫,是山猫的一种 实际上你可以把这当作一张自拍照 用行话说这叫做陷阱拍摄 相机发出一股红外线当作信号 山猫走到相机前,触发了红外线,就拍下了这张照片。 这是一些狒狒 尼克同样使用陷阱拍摄 拍摄了数千张这类照片 不过其中大部分 都是狒狒屁股 (笑声) 一只吃宵夜的狮子 注意看它已经长了虫牙 一只鳄鱼从水里爬回自己的窝 我非常喜欢它尾巴上 滴落的这些水珠
But the centerpiece species of Zakouma are the elephants. It's one of the largest intact herds in this part of Africa. Here's a photograph shot in moonlight, something that digital photography has made a big difference for. It was with the elephants that this story pivoted. Nick, along with researcher Dr. Michael Fay, collared the matriarch of the herd. They named her Annie, and they began tracking her movements. The herd was safe within the confines of the park, because of this dedicated group of park rangers. But once the annual rains began, the herd would begin migrating to feeding grounds outside the park.
不过大象才是扎库玛国家公园中最重要的物种 这也是非洲地区最大最完整的大象群落之一 这是月光下的一群大象 数码技术的出现让夜景拍摄变得更加容易 大象的出现改变了整个故事的走向 尼克和研究员迈克尔·菲博士一起 开始关注起这群大象中的太后 他们管她叫做安妮 并通过无线电记录她的一切活动 在公园巡警尽责地守护下 这些大象在保护区内过着安全的生活 但当雨季来临时 大象们开始在保护区外的草场觅食
And that's when they ran into trouble. For outside the safety of the park were poachers, who would hunt them down only for the value of their ivory tusks. The matriarch that they were radio tracking, after weeks of moving back and forth, in and out of the park, came to a halt outside the park. Annie had been killed, along with 20 members of her herd. And they only came for the ivory. This is actually one of the rangers. They were able to chase off one of the poachers and recover this ivory, because they couldn't leave it there, because it's still valuable. But what Nick did was he brought back a story that went beyond the old-school method of just straight, "Isn't this an amazing world?" And instead, created a story that touched our audiences deeply. Instead of just knowledge of this park, he created an understanding and an empathy for the elephants, the rangers and the many issues surrounding human-wildlife conflicts.
悲剧就从这时开始 数不清的偷猎者正等候在保护区外 想要找机会杀死它们以获取象牙 在几周反复进出保护区的觅食活动之后 太后身上的无线电信号 在保护区的外围地带停住了 安妮死了,同时被杀的还有她族群中的20位成员 偷猎者这么做仅仅是为了它们的象牙 照片中是一位巡警 他们追捕到了一名偷猎者,找回了这些象牙 他们能做到的只是将这些象牙带回来 毕竟这些象牙非常值钱 但尼克做的 是带回一个新的故事 不是我们习以为常的“世界真奇妙”的故事 而是一个让我们深思的故事 这不仅仅是一个关于自然保护区的故事 而是一种理解,一种体验 关于大象、它们的守护者, 以及其他许许多多人与大自然的爱恨交织
Now let's go over to India. Sometimes you can tell a broad story in a focused way. We were looking at the same issue that Richard Wurman touches upon in his new world population project. For the first time in history, more people live in urban, rather than rural, environments. And most of that growth is not in the cities, but in the slums that surround them. Jonas Bendiksen, a very energetic photographer, came to me and said, "We need to document this, and here's my proposal. Let's go all over the world and photograph every single slum around the world." And I said, "Well, you know, that might be a bit ambitious for our budget." So instead, what we did was we decided to, instead of going out and doing what would result in what we'd consider sort of a survey story -- where you just go in and see just a little bit of everything -- we put Jonas into Dharavi, which is part of Mumbai, India, and let him stay there, and really get into the heart and soul of this really major part of the city. What Jonas did was not just go and do a surface look at the awful conditions that exist in such places. He saw that this was a living and breathing and vital part of how the entire urban area functioned. By staying tightly focused in one place, Jonas tapped into the soul and the enduring human spirit that underlies this community. And he did it in a beautiful way.
现在我们把目光转移到印度 有时候我们可以由点及面讨论一个很大的话题 这次我们看到的是 理查德·沃尔曼 探讨 “新世界人口计划” 的这样一个话题。 人类历史上第一次 城市人口数量超过了农村人口 这其中大部分人并非居住在市中心 而是居住在城市周边的贫民窟里 乔纳斯·本迪克斯是一位精力旺盛的摄影师 他找到我,对我说: “我们应该记录这一切,我是这么想的: 让我们拍遍世界每个角落的贫民窟” 我告诉他:“你要知道,这可需要一大笔钱才能办到” 我们最后决定 与其跑遍大江南北 按照通常的报道方式 获取一些浅显的片段 还不如直接把乔纳斯 扔到孟买边上一个叫做达拉维的贫民窟 让他在那里触摸 这个城市重要组成部分的内心和灵魂 乔纳斯的最终结果绝不仅是 浮光掠影地记录下当地糟糕透顶的状况 他看到了一个活生生的贫民窟 这是一个城市正常运转不可或缺的重要部分 通过这样以点及面的拍摄方式 乔纳斯在记录下了这个社区的灵魂之余 还记录下了包含在其中的人性精神 他完美的做到了这一切
Sometimes, though, the only way to tell a story is with a sweeping picture. We teamed up underwater photographer Brian Skerry and photojournalist Randy Olson to document the depletion of the world's fisheries. We weren't the only ones to tackle this subject, but the photographs that Brian and Randy created are among the best to capture both the human and natural devastation of overfishing. Here, in a photo by Brian, a seemingly crucified shark is caught up in a gill net off of Baja. I've seen sort of OK pictures of bycatch, the animals accidentally scooped up while fishing for a specific species. But here, Brian captured a unique view by positioning himself underneath the boat when they threw the waste overboard. And Brian then went on to even greater risk to get this never-before-made photograph of a trawl net scraping the ocean bottom.
但有些时候,浮光掠影的照片也是讲述故事的唯一方式 例如说我们与水下摄影师布莱恩·史格里 及报道摄影师兰迪·奥尔森一道做的 关于渔业过度捕捞现象的报道就是如此 我们不是报道这一话题的唯一媒体 但是布莱恩和兰迪的作品 在表现过度捕捞对于人类 和大自然的毁灭性影响上是最优秀的 这是布莱恩拍摄的一幅照片 在巴厘岛周边 一只在刺网上垂死挣扎的鲨鱼 我见过不少还过得去的记录副捕捞的照片 在捕捞特定鱼类的时候 总是会顺便捞上来一些别的什么生物 但是布莱恩采用了一个特别的视角记录这一切 趁着倾倒副捕捞的机会 他潜到渔船的下方拍摄了这张照片 而拍摄这张照片时布莱恩冒得风险更大 这是正在海底扫荡的拖网 在此以前从没有人拍过这样的照片
Back on land, Randy Olson photographed a makeshift fish market in Africa, where the remains of filleted fish were sold to the locals, the main parts having already been sent to Europe. And here in China, Randy shot a jellyfish market. As prime food sources are depleted, the harvest goes deeper into the oceans and brings in more such sources of protein. This is called fishing down the food chain.
让我们回到岸上,看看兰迪·奥尔森拍摄的照片 这是非洲的一个临时水产品市场 渔夫们在这里向当地人出售鱼骨架 上面的鱼肉早已运往欧洲 这是兰迪在中国拍摄的水母交易市场 随着主要的鱼类数量日益稀少, 渔民们开始把眼光投向了大海深处 以寻找更多可用的食物来源 捕捞海洋食物链下方的更小鱼类
But there are also glimmers of hope, and I think anytime we're doing a big, big story on this, we don't really want to go and just look at all the problems. We also want to look for solutions. Brian photographed a marine sanctuary in New Zealand, where commercial fishing had been banned -- the result being that the overfished species have been restored, and with them a possible solution for sustainable fisheries.
但是现实也并非全然残酷 每次我们做一些类似的重大选题 我们总不会将目光 仅仅投向存在的问题 我们同时也在寻找希望 这是布莱恩在新西兰一个渔业禁捕区拍摄的照片 禁止商业捕捞后 那些曾经一度濒临绝迹的物种重新恢复了生机 这也许是可持续性渔业发展的解决方案之一
Photography can also compel us to confront issues that are potentially distressing and controversial. James Nachtwey, who was honored at last year's TED, took a look at the sweep of the medical system that is utilized to handle the American wounded coming out of Iraq. It is like a tube where a wounded soldier enters on one end and exits back home, on the other. Jim started in the battlefield. Here, a medical technician tends to a wounded soldier on the helicopter ride back to the field hospital. Here is in the field hospital. The soldier on the right has the name of his daughter tattooed across his chest, as a reminder of home. From here, the more severely wounded are transported back to Germany, where they meet up with their families for the first time. And then back to the States to recuperate at veterans' hospitals, such as here in Walter Reed. And finally, often fitted with high-tech prosthesis, they exit the medical system and attempt to regain their pre-war lives. Jim took what could have been a straight-up medical science story and gave it a human dimension that touched our readers deeply.
摄影还会将我们刻意不愿面对的一些事实 带到我们面前 去年在 TED 上倍受褒奖的詹姆斯·纳希微 跟随美军拍摄了一组照片 反映救治伊拉克伤兵的医护系统 医护系统就好像一条管道,伤员们从一头钻进去 从另一头出来时就回到了家中 小詹的拍摄从战场开始 这张照片中医疗兵正将受伤士兵 通过直升机转移至战地医院 这是战地医院中的照片 这张照片中右边的大兵身上 还纹着远方女儿的名字 重伤员被从战地医院 送往后方的德国医疗机构 他们的家人将在那儿与他们会合 随后他们回到如沃特里德之类的军医院 接受进一步康复治疗 最后他们带着充满科技含量的义肢 离开医院 试图重拾战前的平静生活 小詹让一个原本平淡无奇的医疗科学故事 变得充满人性化,深深打动了我们的读者
Now, these stories are great examples of how photography can be used to address some of our most important topics. But there are also times when photographers simply encounter things that are, when it comes down to it, just plain fun. Photographer Paul Nicklin traveled to Antarctica to shoot a story on leopard seals. They have been rarely photographed, partly because they are considered one of the most dangerous predators in the ocean. In fact, a year earlier, a researcher had been grabbed by one and pulled down to depth and killed. So you can imagine Paul was maybe a little bit hesitant about getting into the water. Now, what leopard seals do mostly is, they eat penguins. You know of "The March of the Penguins." This is sort of the munch of the penguins. (Laughter) Here a penguin goes up to the edge and looks out to see if the coast is clear. And then everybody kind of runs out and goes out.
上面这些故事可以说明 摄影如何被用来讲述 一些最为严峻的话题 但也有些时候 摄影师发现自己面对的 仅仅只是单纯的愉悦 摄影师保罗·尼克林有一次前往南极洲 拍摄一个关于豹纹海豹的专题 之前很少有人拍摄相关主题的照片,一部分原因是 人们将其视作海洋中最危险的动物之一 事实上,就在一年前 一位研究人员曾被它们拖至海洋深处并杀害 所以大家可以想象保罗在下水前 是有些忐忑不安的 对于豹纹海豹来说,每天最重要事情就是吃企鹅了 大家应该都知道《帝企鹅日记》吧 如果让豹纹海豹来导演,可能就变成《吃企鹅日记》了 (笑声) 这张照片中,一只企鹅来到岸边 检查水下是否安全 然后大家才能放心下水
But then Paul got in the water. And he said he was never really afraid of this. Well, this one female came up to him. She's probably -- it's a shame you can't see it in the photograph, but she's 12 feet long. So, she is pretty significant in size. And Paul said he was never really afraid, because she was more curious about him than threatened. This mouthing behavior, on the right, was really her way of saying to him, "Hey, look how big I am!" Or you know, "My, what big teeth you have." (Laughter) Then Paul thinks that she simply took pity on him. To her, here was this big, goofy creature in the water that for some reason didn't seem to be interested in chasing penguins. So what she did was she started to bring penguins to him, alive, and put them in front of him. She dropped them off, and then they would swim away. She'd kind of look at him, like "What are you doing?" Go back and get them, and then bring them back and drop them in front of him. And she did this over the course of a couple of days, until the point where she got so frustrated with him that she started putting them directly on top of his head. (Laughter) Which just resulted in a fantastic photograph. (Laughter) Eventually, though, Paul thinks that she just figured that he was never going to survive. This is her just puffing out, you know, snorting out in disgust. (Laughter) And lost interest with him, and went back to what she does best.
然后保罗也跟着它们下水了 他说他当时还真没有害怕 这时,照片中这位美女来到了他的身边 这位美女大约有四米长 遗憾的是在照片中还看不全 总而言之她确实是个高个美人 保罗觉得自己并不害怕的原因 可能是因为这位美女对他的好奇超过了食欲 右边这张照片中这位美女正张开血盆大口 对他打招呼,“帅哥,你看我漂亮吗” 要不然就是在说,“牙好,胃口就好” (笑声) 保罗觉得这位美女也许觉得他有些可怜 水里面居然还有这么一个大笨个子 不知道为什么 居然对企鹅没有丝毫的兴趣 于是她开始喂企鹅给他吃 把活生生的企鹅放到他的面前 可是只要她一松口,这些企鹅就马上溜之大吉 她看着他,心想:“这家伙是不是有病啊” 然后又转身给他找来几只企鹅 又重新看着这些企鹅溜掉 这么干了几天以后 她彻底对保罗感到失望了 于是她干脆把企鹅直接送到了他嘴巴边上 (笑声) 于是保罗拍下了这张搞笑的照片 (笑声) 保罗觉得这妞当时肯定在想 这大个子迟早会在海里面给饿死 最后她只好气呼呼的走了 看这照片她气肯定不会小到什么地方去 (笑声) 对他最终丧失信心后,妞回家该干嘛干嘛去了
Paul set out to photograph a relatively mysterious and unknown creature, and came back with not just a collection of photographs, but an amazing experience and a great story. It is these kinds of stories, ones that go beyond the immediate or just the superficial that demonstrate the power of photojournalism. I believe that photography can make a real connection to people, and can be employed as a positive agent for understanding the challenges and opportunities facing our world today. Thank you. (Applause)
保罗本来是去拍摄一种 神秘而不为人熟知的生物 但最后得到的除了一系列照片之外 还带回了一次绝佳的体验,一个有趣的故事 正是这样一系列的故事 超越了浮光掠影 向我们真正展示了摄影的力量 我相信摄影可以成为一种积极的力量 将人们与周遭世界紧密联系在一起 让每个人看清我们的世界所面临的挑战 也让每个人发现我们的世界所拥有的希望 谢谢大家 (鼓掌)