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.
一開始讓我們先來看一些美麗的照片, 這張是「國家地理雜誌」的代表圖像, 由史蒂芬.麥克力所拍攝的阿富汗難民, 但是我聽說「哈佛諷刺」雜誌準備出版一期 諷刺性的「國家地理雜誌」, 我不敢想像他們要怎樣處理這張照片, 或許用Photoshop亂搞一番吧。
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.
這是由布魯斯.戴爾所拍攝的一張噴射機降落在舊金山的照片, 他將照相機固定在機尾。 山姆.安貝爾為一段介紹托爾斯泰的文章,拍攝了這張充滿詩意的照片。 藍迪.歐森為剛果的俾格米人所拍攝的照片, 我很喜歡這張照片,因為它讓我想到 竇加的那些小芭蕾舞者的銅雕作品。 保羅.尼克林的「極地裡游泳的北極熊」, 北極熊們需要利用冰塊才能到處移動, 他們並不是很會游泳, 而我們都知道冰山所面臨的危機。 這些是穿越非洲裂谷的駱駝群, 由克里斯.約翰所拍攝, 從正上方往下拍攝,所以這些是駱駝的影子。 這是威廉.亞伯特.阿拉德拍攝之德州農場主人, 一位很棒的肖像攝影師。 這是珍.古德,她試圖建立特殊的情感交流, 由尼克.尼可所拍攝。 這是大衛.艾倫.哈非在西班牙的肥皂泡泡迪斯可舞廳所拍攝的照片, 大衛說在舞池裡 有很多怪異的東西, 不過,嘿,至少他們都很衛生。 (笑聲) 這是澳洲的海獅們在跳舞, 由大衛.度比樂所拍攝。 然後這是尤恩.梅森博士所捕捉到的彗星畫面。 最後,這是鐵達尼號的船頭,只差沒有明星而已, 這是愛莫瑞.克里斯托的作品。 攝影作品具有一種力量,可以讓我們 在媒體資訊泛濫的世界裡,把持住自己, 為我們心靈裡某個重要的時刻 留下珍貴記憶。
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.
我舉個例子, 四年前我和我兒子到海邊, 他那時還在學習如何在 溫和的達拉威海邊的浪花裡游泳, 但就在我一不留神時,他被突來的浪濤打了下去, 然後開始被浪跩向防波堤去。 我現在站在這裡,還可以清楚看到, 當我衝進水裡救他時, 時間慢了下來,並凍結在當下那一瞬間, 我可以看見石頭在這裡, 而那頭有個浪快要打到他身上, 我可以看見他伸出雙手, 並看見他恐懼的臉龐, 看著我,並說「救我,爸!」 我抓住他,浪打在我們身上, 我們回到岸上,他沒事, 但我們都有點小驚嚇。 這「瞬間記憶」恰如其字面上之涵意, 不只包含這事件本身的所有的元素, 還包含我們內心對該事件的情感連結。 照片也具有這種直擊人心的力量, 讀者在觀看的時候就產生了情感連結。
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)
現在我要告訴你們, 上星期我跟凱爾提到這件事, 說我準備要說這個小故事時, 他說,「喔,對,我也記得! 在我的印象中, 你就站在岸邊對我大呼小叫。」 (笑聲) 我還以為我是個英雄哩... (笑聲)
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.
所以... 這表示 -- 這些照片全都是 由世界上最優秀的攝影記者,用他們的頂尖技術 所拍攝出的偉大照片。 除了這張以外, 這是尤恩.梅森博士 去年在紐西蘭所拍的照片, 並送到「國家地理雜誌」刊出。 去年我們在網站上加了這項叫「素人攝影師」的活動, 讓大眾可以將自己的攝影作品寄來投稿,並有機會刊出。 這個活動非常的成功, 引起了熱衷攝影族群的廣大迴響。 這些業餘作品的水準, 有時候是非常驚人的, 看見這些作品讓我相信, 我們每個人都至少有能力拍攝一或二幅 很棒的照片;
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.
但是要成為一個很棒的攝影記者, 你就不能只有一、二張 出色的照片, 你必須能夠持續穩定地拍出很棒的照片。 但更重要的是, 你得知道該怎麼讓畫面說話, 你要懂得說故事的技巧。 所以現在我要讓各位看一些封面照片, 我覺得這些照片可以展現出攝影師說故事的能力。
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.
攝影師尼克.尼可為了記錄 一個非常小且不太知名的野生動物保護區, 而前往查德一個叫做扎寇瑪的地方。 最初的想法是去到那裡, 拍一些不同野生動物的故事回來, 帶一點異國風情就好, 這就是尼克拍攝的成果。 這是一隻山貓, 牠其實是在幫自己照相, 利用所謂的「陷阱式攝影機」。 在那裡有條紅外線穿過這個區域, 牠一旦走進感應區域就會啟動攝影機。 這是一群在水邊的狒狒, 尼克 -- 這架攝影機也是陷阱式攝影機 -- 拍下了上千張狒狒的相片, 最後尼克照了非常多張 狒狒們的屁股。 (笑聲) 一隻獅子在享用宵夜, 請注意看他有一顆斷掉的牙齒。 然後是一隻鱷魚爬向河岸上的巢穴, 我很喜歡那些水滴 順著他的尾巴滴下來的樣子。
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.
但在扎寇瑪裡,最重要的動物是大象, 他們是非洲這地區內最大最完整的一群。 這張是在月色下的照片, 數位攝影機能照出非常不一樣的照片。 大象是這個故事最主要的部分, 尼克與研究員麥克‧菲博士 找到了象群的首領, 他們叫他安妮, 然後開始追蹤牠的蹤跡。 象群待在封閉的保護區內很安全, 因為有一群管理員專責保護他們。 但是一旦雨季開始, 整個象群就會開始遷徙到保護區外覓食。
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.
這就是麻煩的開始, 在安全的保護區外有盜獵者, 他們會為了奪取有價值的象牙而獵殺大象。 攝影師利用無線電追蹤的象群首領, 在進進出出保護區數週後, 追蹤器最後停在保護區外不動了。 安妮被殺掉了,連同牠的20個同伴也被殺了, 這一切都只是為了象牙。 這是其中一個管理員, 他們想辦法追到了其中一個盜獵者,追回了這只象牙。 他們不能將象牙留在那裡, 因為畢竟還是有價值的東西。 尼克所做的,卻是為我們帶回一個故事, 那不是一般老掉牙的故事, 不是那種「這個世界很棒吧?」的故事, 而是一個深深讓觀眾感動的故事。 尼克除了帶回關於這個保護區的知識, 他還帶領我們瞭解並同情 這些大象、管理員、和其他許多人類 與野生動物相衝突的議題。
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.
現在,讓我們來到印度。 有時後你可以將一個很大的故事聚焦在某一點。 那時我們正在討論理查.沃爾曼 所探討的新世界人口專案這個主題, 這是歷史上第一次, 都市的人口超過鄉村, 大部分的人口成長並不是在城市裡, 而是在圍繞城市邊緣的貧民窟裡。 喬那斯.班迪克森這一位精力過人的攝影師 來找我說, 「我們必須將這個記錄下來,我的提議是: 讓我們到全世界各地,將世界上每個貧民窟都拍攝下來。」 然後我說:「你知道的,這好像有點超出預算了。」 所以我們決定, 與其在外面到處跑, 報導我們所謂的調查故事, 那有點走馬看花的感覺, 還不如把喬那斯派去哈諾非, 就在印度孟買, 讓他待在那裡,深入到城市的重要部分, 真正瞭解其中的精髓。 喬那斯所做的絕不是單純地看看 這個地區到底有多糟糕, 反之,他看到了這裡是人們居住、呼吸的地方, 也是整個城市運作最核心的地方。 因為只待在這裡,深入地瞭解這裡, 喬那斯精準地掌握了生活在這個社區裡的人們, 他們的靈魂與毅力, 並以優美的方式呈現出來。
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.
有時候,我們得靠一張涵蓋全面的照片才能說得清楚一件事。 我們找來海底攝影師布來恩.司凱瑞 以及攝影記者藍迪.歐森, 來記錄全世界漁源耗竭的情形。 我們不是唯一報導這類主題的人, 但是布來恩與藍迪所拍攝的照片, 最能忠實呈現人工漁場與海洋漁場 因過度捕撈而耗竭的情形。 這是布來恩所拍的照片, 一隻在巴赫海邊被流刺網捕獲的鯊魚, 像是被人釘在十字架上。 我看過一些關於意外漁獲的照片,都還算過得去, 這些魚都是在漁夫們捕撈特定魚類時, 不小心跳進漁網裡的。 但是這張照片,是布來恩鑽到漁船下面, 等到漁夫們將不要的漁獲丟棄時, 所拍攝到的獨特畫面。 然後布來恩甚至冒了更大的危險, 拍攝了這張前所未有的照片, 這是拖網在海床上拖行的畫面。
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.
回到陸地上,這是藍迪‧歐森在非洲的 一個臨時的魚市場拍到的照片, 這條幾乎只剩骨頭的魚被賣給了當地居民, 而魚肉則已經外銷至歐洲。 這張是藍迪在中國拍攝的水母市場照片。 當最上層的食物來源已經耗盡, 漁夫就必須更深入海洋, 來捕捉像這樣的蛋白質來源, 也就是往食物鏈更下方捕撈魚獲。
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.
但我們仍然有一絲希望, 我認為每當我們在探討某個重大的話題時, 我們並不只是想去某個地方, 只想挖掘到問題而已, 我們還想尋找解決之道。 布來恩拍攝了紐西蘭的一處海洋保護區, 在這裡任何商業行為的捕撈都是不被准許的, 而那些因過渡捕撈而減少的魚種才得以保存下來, 這可能是維持漁業運作的好方法。
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.
攝影也可以強迫我們去面對 令人煩惱及具有爭議性的議題。 詹姆斯.納許威,去年曾得到TED的表揚, 他觀察了專為從伊拉克戰爭 回來的美國傷兵,所設立的醫療系統, 它就像一條管子,傷兵從一頭進入, 然後從另一頭出來、回家。 詹姆從戰場上開始拍攝他的照片, 這張照片是一位直昇機上的醫療人員, 他在前往野戰醫院的路上試著為受傷士兵療傷。 這是在野戰醫院, 右邊的這個士兵將他女兒的名字, 紋在自己的胸前,提醒自己要回家。 在這裡,更嚴重的傷兵則被送往德國, 他們在那裡第一次 和自己的家人見面, 然後再被送回到美國的退伍軍人醫院療養, 就像這張在華德瑞得醫院的照片一樣。 最後,大部分的人都裝上了高科技的義肢, 然後離開了這樣的醫療體系, 試著重新拾回戰前的生活。 詹姆拍攝的是嚴肅的醫療科學故事, 但他以人性的角度拍攝照片,深深地感動了讀者。
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.
這些故事樹立了典範, 讓我們知道攝影可以幫助我們 強調一些重要議題。 但也有些時候, 攝影師只是剛好遇到有趣的事物, 就把它拍成照片了。 攝影師保羅.尼克林到南極 去拍攝海豹的故事, 很少人曾拍攝過牠們,部分原因在於 人們被認為牠們是海裡最危險的動物之一。 事實上,一年前曾有位研究員 被一隻海豹抓住並被拖到深海而死亡, 所以你可以想像得到,保羅或許有點猶豫, 到底要不要下到海裡。 現在海豹最常做的事就是捕食企鵝, 你知道「企鵝進行曲」吧? 這個則是「企鵝咀嚼曲」(英文的進行曲與咀嚼諧音) (笑聲) 這裡有隻企鵝從岸邊往海裡看, 看看海岸邊是否安全, 然後大夥們開始往外衝跳進海裡,
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.
而保羅也進入水底, 他說他從未感到害怕。 有一隻母海豹靠近他, 牠大約有 -- 很可惜你們無法從照片中判斷 -- 大約12呎長, 所以牠的體型很龐大, 但保羅說他一點也不害怕, 因為牠對他好奇多過於威脅。 右邊這張牠張開大口的照片, 像是在對他說「嘿!看看我有多大隻」, 或是「天啊!這是多大的牙齒啊!」 (笑聲) 然後保羅覺得牠只是同情他, 對牠來說,這個水域裡有這個大又呆的東西, 讓牠對於追捕企鵝這件事, 不再有任何興趣了。 所以牠開始將活生生的企鵝, 帶到他的面前, 在他面前將企鵝放開,讓企鵝可以逃走, 牠看著他,像是在問「你在幹嘛啊?」 然後再回去將企鵝捉回來, 再丟到他面前。 在好幾天內牠不斷地重複這樣的行為, 直到牠對保羅感到失望透了, 才開始將企鵝直接丟在他的頭上。 (笑聲) 所以剛好有了這張很棒的照片。 (笑聲) 最後,保羅認為牠終於發現 保羅無法在這裡生存下去。 這是牠在嘆氣,你知道的, 用鼻子哼氣來表示牠的厭惡。 (笑聲) 海豹終於對他失去了興趣,而回去做牠最拿手的事情。
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)
保羅為這種既神秘又未知的生物 拍攝了照片, 他不僅僅是帶回一系列的照片, 還帶回來迷人的經驗與很棒的故事。 然而,也就是這種 能夠超越拍攝的瞬間、超越表面的故事, 才能展現攝影記者的力量。 我深信攝影可以和人們產生情感的連結, 也可以用來傳遞正面的訊息, 讓我們能夠瞭解,現今世界所遭遇到的 挑戰與機會。 謝謝 (掌聲)