As someone who has spent his entire career trying to be invisible
一個窮盡一生都盼望隱形於世的人
standing in front of an audience is a cross between an out-of-body experience and a deer caught in the headlights, so please forgive me for violating one of the TED commandments by relying on words on paper, and I only hope I'm not struck by lightning bolts before I'm done. I'd like to begin by talking about some of the ideas that motivated me to become a documentary photographer.
站到了觀眾面前,心情就好像靈魂出竅 的時候恰好又見鬼。 所以請原諒我違反TED其中一條規定, 就是需要照著講稿演講, 我只希望在我演講完成前不會被雷劈到。 我想從那些能刺激到我想成為一名 新聞攝影師的原因講起。
I was a student in the '60s, a time of social upheaval and questioning, and on a personal level, an awakening sense of idealism. The war in Vietnam was raging; the Civil Rights Movement was under way; and pictures had a powerful influence on me. Our political and military leaders were telling us one thing, and photographers were telling us another. I believed the photographers, and so did millions of other Americans. Their images fueled resistance to the war and to racism. They not only recorded history; they helped change the course of history. Their pictures became part of our collective consciousness and, as consciousness evolved into a shared sense of conscience, change became not only possible, but inevitable.
60年代的時候,我是一名學生。那是一個社會劇變和受到責疑的時代, 而對於個人來說,這正是理想主義萌芽的時候。 越南戰爭正激烈地進行著, 人權運動正蓄勢待發, 所以照片對我有著很大的影響。 我們的政治和軍事的首領告訴我們的是一回事, 和照片告訴我們的又是另一回事。 我選擇相信照片,千千萬萬的美國人也是如此。 他們的照片刺激了人們反對戰爭和種族主義。 他們不僅紀錄歷史,他們也改變歷史。 他們的照片是我們對集體意識的部份感知, 同時,因為集體意識會影響人們的良知, 改變不僅是可能的,更是不可避免的。
I saw that the free flow of information represented by journalism, specifically visual journalism, can bring into focus both the benefits and the cost of political policies. It can give credit to sound decision-making, adding momentum to success. In the face of poor political judgment or political inaction, it becomes a kind of intervention, assessing the damage and asking us to reassess our behavior. It puts a human face on issues which from afar can appear abstract or ideological or monumental in their global impact. What happens at ground level, far from the halls of power, happens to ordinary citizens one by one.
我看到由媒體報導的消息, 特別是視覺新聞,不管是政府政策的優點,還是不足, 都能夠引起公眾的注意。 這可以給政府機會去宣傳他們做出的決定,增加成功的可能性。 而面對不好的政治性的裁定或者政府行動的遲緩, 這變成了一種調停的工具,評估損失, 並要求我們重新評估我們的行為。 這讓人們的面孔能出現在 向來對廣大公眾的影響十分抽象,虛無, 沒甚麼意義的的事情上。 那些本來只有底層人民才發出的,遠離權力中心相距的吶喊, 現在普通的市民也一個接一個地發出這些吶喊。
And I understood that documentary photography has the ability to interpret events from their point of view. It gives a voice to those who otherwise would not have a voice. And as a reaction, it stimulates public opinion and gives impetus to public debate, thereby preventing the interested parties from totally controlling the agenda, much as they would like to. Coming of age in those days made real the concept that the free flow of information is absolutely vital for a free and dynamic society to function properly. The press is certainly a business, and in order to survive it must be a successful business, but the right balance must be found between marketing considerations and journalistic responsibility.
於是我意識到新聞攝影 有從市民的角度說明事情的能力。 這讓那些從來沒有發言權的人有機會說出自己心聲。 它的反應包括,鼓勵公眾表達自己的意見, 並給公眾討論以動力, 這樣,可以防止當事人隨心所欲地 完全控制社會輿論。 隨著時間推移,人們意識到信息傳播的 自由性對一个自由、有活力的社會 的正常發展絕對是十分重要的。 出版社的確是一門生意,而且為了生存, 它一定要是一門成功的生意, 但一定要在市場利益和新聞責任之間 找到正確的平衡。
Society's problems can't be solved until they're identified. On a higher plane, the press is a service industry, and the service it provides is awareness. Every story does not have to sell something. There's also a time to give. That was a tradition I wanted to follow. Seeing the war created such incredibly high stakes for everyone involved and that visual journalism could actually become a factor in conflict resolution -- I wanted to be a photographer in order to be a war photographer. But I was driven by an inherent sense that a picture that revealed the true face of war would almost by definition be an anti-war photograph.
除非社會問題的存在性得到承認,否則無法解決。 從一個更高的層次說,出版社是一個服務行業, 它提供對事件的全面認知。 不一定每個故事都有賣點。 但時間是一定要的。 那是我想要追隨的傳統。 看到戰爭讓每個人都承受難以想像的高風險, 而新聞媒體又成為衝突解決中的一部分, 我想要成為一名攝影師,而且是一名戰地攝影師。 但是,我被大眾的觀點所影響, 就是揭示戰爭真面目的照片 幾乎都會被定義為反戰的照片。
I'd like to take you on a visual journey through some of the events and issues I've been involved in over the past 25 years. In 1981, I went to Northern Ireland. 10 IRA prisoners were in the process of starving themselves to death in protest against conditions in jail. The reaction on the streets was violent confrontation. I saw that the front lines of contemporary wars are not on isolated battlefields, but right where people live. During the early '80s, I spent a lot of time in Central America, which was engulfed by civil wars that straddled the ideological divide of the Cold War.
我想讓你們看一個圖片故事,講的是 這25年來我經歷、遇到過的事件和問題。 1981年,我去了北愛爾蘭。 10個愛爾蘭共和軍犯人絕食以表達 對監獄裡面的生活條件的不滿。 這事件到了社會上,使公眾在街上發生暴力衝突。 我看到當時戰爭的前線不是在 開闊、荒蕪的戰場,而正位於生活圈內。 在80年代早期,很多時候我都在中美洲。 那裡曾被內戰吞噬, 又因為冷戰時代那意識形態問題而分裂。
In Guatemala, the central government -- controlled by a oligarchy of European decent -- was waging a scorched Earth campaign against an indigenous rebellion, and I saw an image that reflected the history of Latin America: conquest through a combination of the Bible and the sword. An anti-Sandinista guerrilla was mortally wounded as Commander Zero attacked a town in Southern Nicaragua. A destroyed tank belonging to Somoza's national guard was left as a monument in a park in Managua, and was transformed by the energy and spirit of a child. At the same time, a civil war was taking place in El Salvador, and again, the civilian population was caught up in the conflict.
在在瓜地馬拉,受歐洲政治巨頭控制的 中央政府正發動一場焦土運動 來對抗當地的叛軍, 而我看到一個可以反應拉丁美洲這歷史的圖像: 一場通過聖經和武器取得的勝利。 一支反桑定的遊擊隊受到沉重的打擊。 因為Zero指揮官在南尼加拉瓜的一個小鎮被襲擊。 一輛屬於薩莫查的國際護衛隊的被摧毀的坦克 被作為一個紀念碑放在馬拉瓜的一個公園里, 並因為一個小孩的天真和好奇而變成了他的玩伴。 與此同時,薩爾瓦多發生了內戰, 並再一次,越來越多的城市居民捲入衝突中。
I've been covering the Palestinian-Israeli conflict since 1981. This is a moment from the beginning of the second intifada, in 2000, when it was still stones and Molotovs against an army. In 2001, the uprising escalated into an armed conflict, and one of the major incidents was the destruction of the Palestinian refugee camp in the West Bank town of Jenin. Without the political will to find common ground, the continual friction of tactic and counter-tactic only creates suspicion and hatred and vengeance, and perpetuates the cycle of violence.
我從1981年開始就負責拍攝巴以衝突。 這是2000年,第二次騷亂的開始的一瞬間。 那時候它仍然是用石頭和汽油彈來攻擊軍隊。 到了2001年,騷亂逐漸升級為武裝衝突, 而其中一個很重要的事件是 巴勒斯坦在約旦河西岸的傑寧小鎮上的 貧民區營地被毀。 由於沒有政治力量尋找雙方共同的立場, 外加持續不斷的在政策上的摩擦和敵對的策略 只能產生猜疑、憎恨和復仇, 並維持了這個暴力的循環。
In the '90s, after the breakup of the Soviet Union, Yugoslavia fractured along ethnic fault lines, and civil war broke out between Bosnia, Croatia and Serbia. This is a scene of house-to-house fighting in Mostar, neighbor against neighbor. A bedroom, the place where people share intimacy, where life itself is conceived, became a battlefield. A mosque in northern Bosnia was destroyed by Serbian artillery and was used as a makeshift morgue. Dead Serbian soldiers were collected after a battle and used as barter for the return of prisoners or Bosnian soldiers killed in action. This was once a park. The Bosnian soldier who guided me told me that all of his friends were there now.
在90年代,蘇聯解體之後, 南斯拉夫因為種族問題分裂,同時在波斯尼亞、 克羅埃西亞和塞爾維亞之間爆發內戰。 這是在莫斯塔鄰里之間反目成仇, 人們互相打鬥的場面。 睡房,一個人們分享私密的地方, 一個生命醞釀、沈思的地方,成為了一個戰場。 在北波斯尼亞的一座清真寺北塞爾維亞的炮火摧毀, 並被用作臨時的停屍房。 死亡的塞爾維亞士兵在一場戰役完後被收集起來, 用作波斯尼亞囚犯或者行動中 被殺的士兵的交換籌碼。 這曾經是一個公園。 一個作為我導遊的波斯尼亞士兵 告訴我現在他的所有朋友都被埋在那裡了。
At the same time in South Africa, after Nelson Mandela had been released from prison, the black population commenced the final phase of liberation from apartheid. One of the things I had to learn as a journalist was what to do with my anger. I had to use it, channel its energy, turn it into something that would clarify my vision, instead of clouding it. In Transkei, I witnessed a rite of passage into manhood, of the Xhosa tribe. Teenage boys lived in isolation, their bodies covered with white clay. After several weeks, they washed off the white and took on the full responsibilities of men. It was a very old ritual that seemed symbolic of the political struggle that was changing the face of South Africa.
與此同時在南非, 尼爾遜 曼德拉從監獄被釋放之後, 黑人開始了從種族歧視中 爭取自由的最後一步。 其中一樣作為記者我必須要學習的 就是怎樣控制我的憤怒。 我必須運用它,用它的能量,將它轉化成一些能 清晰我的視線,而不是模糊它的東西 在特蘭斯凱,我目睹了科薩人成人禮的儀式。 未成年男孩們被隔離,身上塗滿白黏土。 幾個星期之後,他們把白黏土洗掉 並肩負起男人的全部責任。 這是一個很古老的儀式,這儀式像是象徵著 正在改變南非面貌的政治鬥爭。
Children in Soweto playing on a trampoline. Elsewhere in Africa there was famine. In Somalia, the central government collapsed and clan warfare broke out. Farmers were driven off their land, and crops and livestock were destroyed or stolen. Starvation was being used as a weapon of mass destruction -- primitive but extremely effective. Hundreds of thousands of people were exterminated, slowly and painfully. The international community responded with massive humanitarian relief, and hundreds of thousands of more lives were saved. American troops were sent to protect the relief shipments, but they were eventually drawn into the conflict, and after the tragic battle in Mogadishu, they were withdrawn. In southern Sudan, another civil war saw similar use of starvation as a means of genocide.
在索韋托的孩子在玩蹦床。 而在非洲的其它地方正鬧飢荒。 在索馬里,中央政府瓦解,部落之間的衝突爆發。 農民從自己的土地上被趕了出去, 穀物和牲畜被破壞或者偷走。 飢餓被用作大規模破壞的武器, 原始但十分有效。 成千上萬的人痛苦地、 慢慢逐漸被屠殺掉。 國際團體憑藉著強大的人道主義信念作出行動, 拯救了千千萬萬條生命。 美國軍隊被派去保護送出的物資, 但是他們最終也陷進衝突之中, 在摩加迪沙那慘烈的戰役後,他們被調回美國。 在蘇丹南部,另一場內戰也運用飢餓作為 種族大屠殺的一種策略。
Again, international NGOs, united under the umbrella of the U.N., staged a massive relief operation and thousands of lives were saved. I'm a witness, and I want my testimony to be honest and uncensored. I also want it to be powerful and eloquent, and to do as much justice as possible to the experience of the people I'm photographing. This man was in an NGO feeding center, being helped as much as he could be helped. He literally had nothing. He was a virtual skeleton, yet he could still summon the courage and the will to move. He had not given up, and if he didn't give up, how could anyone in the outside world ever dream of losing hope? In 1994, after three months of covering the South African election, I saw the inauguration of Nelson Mandela, and it was the most uplifting thing I've ever seen. It exemplified the best that humanity has to offer. The next day I left for Rwanda, and it was like taking the express elevator to hell.
國際民間團體在聯合國的保護之下再一次 發放了數量巨大的物資,並拯救了成千條生命。 我是一個目擊者,我希望我的陳述 是真實和無約束的。 我也希望它是有力的和觸動心弦的, 能夠發揮它最大的作用,為我正在拍攝的 這些人所經歷的事情討回一個公道。 這人正在一個民間組織的庇護中心裡面, 他會得到他能得到的最大幫助。 他準確地說甚麼都不是。他只是一架骨頭, 但是他仍然擁有勇氣和意願去前進。 他沒有放棄,如果他沒有放棄, 那麼任何在外面世界生活的人又怎麼可以想著失去希望? 1994年南非選舉的3個月後, 我看到尼爾遜 曼德拉的就職典禮, 這是我見過的最振奮人心的事情。 這證明了人道主義會帶來的最好的勝利。 第二天,我離開前往盧安達, 而這就像是搭上了去地獄的特快電梯。
This man had just been liberated from a Hutu death camp. He allowed me to photograph him for quite a long time, and he even turned his face toward the light, as if he wanted me to see him better. I think he knew what the scars on his face would say to the rest of the world. This time, maybe confused or discouraged by the military disaster in Somalia, the international community remained silent, and somewhere around 800,000 people were slaughtered by their own countrymen -- sometimes their own neighbors -- using farm implements as weapons.
這人剛剛從胡圖人死亡營裡面被放出來。 他讓我拍他拍了很長時間, 最後他甚至把他的臉轉向鏡頭, 就好像他想我看他看的更清楚。 我想他明白他臉上的傷疤 會告訴世界上其他人甚麼。 那時候,也許是被索馬利亞的戰爭災難 弄混亂了或者感到氣餒了, 國際組織不見蹤影, 與此同時的某個地方,800,000人 被他們自己社區里的人, 有時甚至是他們的鄰居,用農耕工具屠殺掉了。
Perhaps because a lesson had been learned by the weak response to the war in Bosnia and the failure in Rwanda, when Serbia attacked Kosovo, international action was taken much more decisively. NATO forces went in, and the Serbian army withdrew. Ethnic Albanians had been murdered, their farms destroyed and a huge number of people forcibly deported. They were received in refugee camps set up by NGOs in Albania and Macedonia. The imprint of a man who had been burned inside his own home. The image reminded me of a cave painting, and echoed how primitive we still are in so many ways.
也許是因為他們從波斯尼亞戰爭的 弱小的反應和盧安達的失敗 的中吸取了教訓, 當塞爾維亞襲擊科索沃的時候 國際力量更果斷地參與到其中。 北大西洋公約組織參加戰鬥,不久,塞爾維亞軍隊撤退。 阿爾巴尼亞人被屠殺, 他們的農田被毀,大量的人被迫離開他們的家園。 他們被阿爾巴尼亞和馬其頓的 民間組織設立的難民營接收。 這紀錄了一個男人在他自己的家裡面被燒死的場景。 這圖片讓我記起洞穴上的壁畫, 並不停地提醒我們在很多方面仍是多麼的原始落後。
Between 1995 and '96, I covered the first two wars in Chechnya from inside Grozny. This is a Chechen rebel on the front line against the Russian army. The Russians bombarded Grozny constantly for weeks, killing mainly the civilians who were still trapped inside. I found a boy from the local orphanage wandering around the front line. My work has evolved from being concerned mainly with war to a focus on critical social issues as well. After the fall of Ceausescu, I went to Romania and discovered a kind of gulag of children, where thousands of orphans were being kept in medieval conditions. Ceausescu had imposed a quota on the number of children to be produced by each family, thereby making women's bodies an instrument of state economic policy. Children who couldn't be supported by their families were raised in government orphanages. Children with birth defects were labeled incurables, and confined for life to inhuman conditions.
95和96年間,我在格羅茲尼裡面跟蹤拍攝了 車臣共和國最開始的兩場戰爭。 這是車臣叛軍在前線與俄羅斯軍隊對峙。 俄羅斯連續轟炸了格羅茲尼幾個星期, 炸死的主要是被困在裡面的居民。 我發現一個來自當地孤兒院的男孩 在前線附近徘徊。 我的工作主要輿戰爭有關, 但也會關注受爭議的社會事件。 齊奧塞斯庫政權下台之後,我去了羅馬尼亞 並發現了一類兒童的勞改營。 在那裡,上千的孤兒猶如生活在中世紀。 齊奧塞斯庫強制要求每個家庭 出生的小孩數目都要達到配額。 這樣使得女人們的身體成為國家經濟政策的一個工具。 小孩不由他們的家庭撫養, 而是交由政府孤兒院。 有天生缺陷的小孩被標上廢物的標簽, 這保證了他們一輩子都能得到非人的待遇。
As reports began to surface, again international aid went in. Going deeper into the legacy of the Eastern European regimes, I worked for several months on a story about the effects of industrial pollution, where there had been no regard for the environment or the health of either workers or the general population. An aluminum factory in Czechoslovakia was filled with carcinogenic smoke and dust, and four out of five workers came down with cancer.
由於這些情況被公諸於世,國際援助也出手幫忙了。 為了更深入地了解東歐遺留下來的政權, 我用了幾個月的時間 跟蹤一個和工業污染的影響有關的故事。 那裡一點都不重視環境 或者工人、大眾的健康。 捷克的一間製鋁工廠 裡面滿是致癌的煙塵, 5個工人裡面有4個都會得癌症。
After the fall of Suharto in Indonesia, I began to explore conditions of poverty in a country that was on its way towards modernization. I spent a good deal of time with a man who lived with his family on a railway embankment and had lost an arm and a leg in a train accident. When the story was published, unsolicited donations poured in. A trust fund was established, and the family now lives in a house in the countryside and all their basic necessities are taken care of. It was a story that wasn't trying to sell anything. Journalism had provided a channel for people's natural sense of generosity, and the readers responded. I met a band of homeless children who'd come to Jakarta from the countryside, and ended up living in a train station. By the age of 12 or 14, they'd become beggars and drug addicts. The rural poor had become the urban poor, and in the process, they'd become invisible.
蘇哈托政權在印尼下台後, 我開始去了解一個正走向現代化的 國家的貧窮的狀況。 我和一個男人聊了很久, 他在火車事故中失去了一個胳膊和一條腿, 現在和他的家人在鐵路旁居住。 當這個故事被報導之後,自願的捐贈源源不斷地送來。 並建立了一個信用基金, 現在這個家庭住在鄉村的一所房子里, 他們的基本需要都得到保證。 說這個故事並不是要說明甚麼。 新聞本來就要提供一個讓人們展現他們的 慷慨大方並促使讀者有所反應的渠道, 我曾遇到過一批無家可歸的小孩,他們來自雅加達的郊外, 最後他們只能住在火車站。 他們只是12到14歲,最終都變成乞丐和吸毒者。 鄉下的窮人變成了城市里的窮人, 在這變化過程中,他們變得透明、不起眼。
These heroin addicts in detox in Pakistan reminded me of figures in a play by Beckett: isolated, waiting in the dark, but drawn to the light. Agent Orange was a defoliant used during the Vietnam War to deny cover to the Vietcong and the North Vietnamese army. The active ingredient was dioxin, an extremely toxic chemical that was sprayed in vast quantities, and whose effects passed through the genes to the next generation. In 2000, I began documenting global health issues, concentrating first on AIDS in Africa. I tried to tell the story through the work of caregivers. I thought it was important to emphasize that people were being helped, whether by international NGOs or by local grassroots organizations.
這些在巴基斯坦的戒毒所 讓我想起貝克特的一部話劇裡面的角色: 孤獨,在黑暗中等待,但是畫出來的都是光明。 橙劑是越南戰爭中使用的一種落葉劑。 為的是去除越共和北越軍隊的掩護。 橙劑的有效成份是戴奧辛, 一種毒性十分大的化學物質。 橙劑在當時被大量噴射, 而且二噁英的毒性通過遺傳影響到了下一代。 在2000,我開始了解全球衛生健康事業, 首先關注的是非洲的愛滋病。 我嘗試通過護理者的工作講故事。 我想無論是國際人道組織還是當地人自發的組織, 強調人們正受到幫助是很重要的。
So many children have been orphaned by the epidemic that grandmothers have taken the place of parents, and a lot of children had been born with HIV. A hospital in Zambia. I began documenting the close connection between HIV/AIDS and tuberculosis. This is an MSF hospital in Cambodia. My pictures can play a supporting role to the work of NGOs by shedding light on the critical social problems they're trying to deal with. I went to Congo with MSF, and contributed to a book and an exhibition that focused attention on a forgotten war in which millions of people have died, and exposure to disease without treatment is used as a weapon. A malnourished child being measured as part of the supplemental feeding program.
很多小孩因為雙親感染傳染病,變成孤兒, 不得不由他們的祖父母代為照養。 很多小孩一出生就帶有HIV病毒。 這是一家在贊比亞的醫院。 我開始調查肺結核與HIV/AIDS... 之間的緊密聯繫。 這是一家在柬埔寨的無國界醫生醫院。 我的照片通過反映他們正努力解決的有爭議的社會問題, 扮演了一個人道組織的支持者的角色。 我和無國界醫生一起去剛果, 為一本書和一場展覽做了一些工作。 書和展覽都是關注一場已經被人們忘記而 實際上讓上百萬人死亡的戰爭。 並向人們展示在這場戰爭中無藥可治的病症被用作武器的暴行。 這是一個營養不良的小孩。他被列作 物資補給計劃中的一部分。
In the fall of 2004 I went to Darfur. This time I was on assignment for a magazine, but again worked closely with MSF. The international community still hasn't found a way to create the pressure necessary to stop this genocide. An MSF hospital in a camp for displaced people. I've been working on a long project on crime and punishment in America. This is a scene from New Orleans. A prisoner on a chain gang in Alabama was punished by being handcuffed to a post in the midday sun. This experience raised a lot of questions, among them questions about race and equality and for whom in our country opportunities and options are available. In the yard of a chain gang in Alabama.
在2004年秋天,我去了達爾富爾。 那時候我受雇於一家雜誌社, 但和無國界醫生走得很近。 國際組織仍然沒有找到 能有效阻止大屠殺的方法。 這是一家設在難民營的無國界醫生醫院。 我曾經跟蹤過一個有關美國犯罪輿懲罰的長期計劃。 這是一個來自新奧爾良的場景。 一個阿拉巴馬的黑手黨囚犯 被罰在雙手反扣站在中午的太陽下。 這做法引發了很多問題。 問題大多關於種族輿平等, 還有到底誰才在我們國家有機會和選擇權。 在阿拉巴馬黑手黨的管轄範圍內
I didn't see either of the planes hit, and when I glanced out my window, I saw the first tower burning, and I thought it might have been an accident. A few minutes later when I looked again and saw the second tower burning, I knew we were at war. In the midst of the wreckage at Ground Zero, I had a realization. I'd been photographing in the Islamic world since 1981 -- not only in the Middle East, but also in Africa, Asia and Europe. At the time I was photographing in these different places, I thought I was covering separate stories, but on 9/11 history crystallized, and I understood I'd actually been covering a single story for more than 20 years, and the attack on New York was its latest manifestation.
我沒有看到過有任何飛機撞擊等事件發生。 當我朝我的窗外看去,我看到一座大樓著火, 我想那只是一個意外。 過了幾分鐘,我再看出去, 看到另外一座大樓也著火了,我知道,我們受到攻擊了。 站在歸零地的殘骸中間,我想明白了。 我從1981年開始拍攝伊斯蘭世界, 不只是中東,更有非洲、亞洲和歐洲。 那時候我在不同地方拍攝, 我想我一直在講述各個獨立的故事。 但回望911歷史,我明白 我其實是一直在講一個長達20多年的故事, 而紐約的襲擊是它最新的表現形式。
The central commercial district of Kabul, Afghanistan at the end of the civil war, shortly before the city fell to the Taliban. Land mine victims being helped at the Red Cross rehab center being run by Alberto Cairo. A boy who lost a leg to a leftover mine. I'd witnessed immense suffering in the Islamic world from political oppression, civil war, foreign invasions, poverty, famine. I understood that in its suffering, the Islamic world had been crying out. Why weren't we listening? A Taliban fighter shot during a battle as the Northern Alliance entered the city of Kunduz. When war with Iraq was imminent, I realized the American troops would be very well covered, so I decided to cover the invasion from inside Baghdad. A marketplace was hit by a mortar shell that killed several members of a single family. A day after American forces entered Baghdad, a company of Marines began rounding up bank robbers and were cheered on by the crowds -- a hopeful moment that was short lived.
在阿富汗,喀布爾的中心經濟區 在內戰結束, 還沒有由塔利班管理的一小短時間里, 地雷的受害者曾經受到由阿爾貝托 卡伊羅 管理的紅十字復健中心。 這是一個因為戰爭遺留的地雷失去一條腿的男孩。 我曾目睹伊斯蘭世界因為政治壓迫,內戰,外國入侵, 貧窮,飢餓而忍受的巨大痛苦。 我知道伊斯蘭世界在它忍受的過程中曾經吶喊過, 但是,為甚麼我們充耳不聞? 這是因為北約進入昆都士, 一個塔利班戰士中槍的場景。 當伊拉克戰爭鄰近, 我知道美國軍隊會掩蓋的很好, 所以我決定從巴格達內部去拍攝這次入侵。 這是一個受到迫擊砲襲擊的市場, 這次襲擊殺死了一個家庭裡面的幾個成員。 美國軍隊進入巴格達一天之後, 海軍的一支連隊開始追捕銀行搶劫犯, 民眾歡呼雀躍, 這是一個短暫存在的充滿希望的時刻。
For the first time in years, Shi'ites were allowed to make the pilgrimage to Karbala to observe Ashura, and I was amazed by the sheer number of people and how fervently they practiced their religion. A group of men march through the streets cutting themselves with knives. It was obvious that the Shi'ites were a force to be reckoned with, and we would do well to understand them and learn how to deal with them. Last year I spent several months documenting our wounded troops, from the battlefield in Iraq all the way home.
多年來第一次, 什葉派被允許到卡爾巴拉 進行朝聖,並供奉阿修羅(死神)。 我被他們的人數所震驚, 他們對他們的宗教是如此的虔誠。 幾個男人踏著步,一邊穿過街道,一邊用刀子割自己。 很明顯,什葉派被看作一種武裝力量, 而我們應該學會去理解他們並和他們打好交道。 去年,我花了幾個月的時間跟蹤拍攝 我們受傷後,從伊拉克戰場回家的軍隊。
This is a helicopter medic giving CPR to a soldier who had been shot in the head. Military medicine has become so efficient that the percentage of troops who survive after being wounded is much higher in this war than in any other war in our history. The signature weapon of the war is the IED, and the signature wound is severe leg damage. After enduring extreme pain and trauma, the wounded face a grueling physical and psychological struggle in rehab. The spirit they displayed was absolutely remarkable. I tried to imagine myself in their place, and I was totally humbled by their courage and determination in the face of such catastrophic loss. Good people had been put in a very bad situation for questionable results. One day in rehab someone, started talking about surfing and all these guys who'd never surfed before said, "Hey, let's go." And they went surfing.
這是一架救援直升機,醫生正在為一名 在戰爭中頭部中槍的士兵做心肺復蘇。 軍隊藥物的有效性大大提高, 所以在這場戰爭中受傷並存活下來的士兵 比以往任何一場戰爭都要多。 最具代表性的武器是簡易爆炸裝置, 最具代表性的傷口是嚴重的腿部損傷。 忍受巨大的痛楚和傷害後, 傷口在醫護室面臨一場將令 身心受創的掙扎。 他們表現出來的精神絕對是非同一般的。 我嘗試想像我遭遇他們這種狀況的時候, 結果我完全被他們面臨如此災難性的 損失時候的勇氣和決心所征服。 不經歷風雨,怎能見彩虹。 一天,在醫護室,某個人開始聊起衝浪, 然後所有那些從未沖過浪的人說:“嘿,我們衝浪去吧。” 然後他們衝浪去了。
Photographers go to the extreme edges of human experience to show people what's going on. Sometimes they put their lives on the line, because they believe your opinions and your influence matter. They aim their pictures at your best instincts, generosity, a sense of right and wrong, the ability and the willingness to identify with others, the refusal to accept the unacceptable. My TED wish: there's a vital story that needs to be told, and I wish for TED to help me gain access to it and then to help me come up with innovative and exciting ways to use news photography in the digital era. Thank you very much.
攝影師拍攝一些極端的人類的生活經歷, 為的是告訴人們現在正在發生甚麼事。 有時候他們甚至會把命都搭上了, 因為他們相信你們的觀點和你們的影響力。 他們通過照片激發你們最美好的天性。 慷慨、分辨是非的能力、 平等待人的願望和能力, 對那些不能接受的事情的拒絕。 我上TED的願望: 有一個生死攸關的故事需要講述, 我希望TED能幫助我讓這個故事公諸於眾, 並幫助我想一些在數字時代運用新攝影技術 的革新的,有活力的方法。 非常感謝。
(Applause)
(掌聲)