Henri Cartier-Bresson :关于照片故事

什么才是摄影的报道性，一个照片故事？一张独特的照片，构图有活力和丰富，内容向外辐射时，一张照片就是整个故事。但是，这很稀有。可以从主题产生火花的元素，经常被时间或地点分散，把它们集中在一起的力量是“舞台管理”，但，我感觉很做作。如果有可能把“核心”和被划掉的火花都拍下来，这就是一个图片故事。这一页将分散在几张照片中的互补元素重新组合起来。

What is the reportability of photography, a photo story? A unique photo, with a vibrant and rich composition, and when the content radiates outward, one photo is the whole story. However, this is rare. Elements that can spark from a theme are often scattered by time or place, and the force that brings them together is "stage management", but, I feel contrived. If it's possible to capture both the "core" and the crossed-out sparks, it's a picture story. This page reunites complementary elements scattered across several photographs.

图片故事涉及大脑和眼睛的配合行动。这个联合行动的目标是描述正在展开过程中的活动的内容和交流印象。有时候，一个单个的故事本身就很丰富。它的各个方面有必要在你寻找解决它所带来的问题的过程中四处移动，因为世界是移动的，你不能以静止的态度对待正在移动的东西。有时你会在几秒钟内领悟一幅照片，有时候需要几个小时或几天。这没有标准的计划或模式。你必须对大脑、眼睛、心保持警觉，并有一个柔软的身体。

Picture stories involve the coordinated actions of the brain and eyes. The goal of this joint action is to describe the content and communicate impressions of the activities underway. Sometimes a single story is rich in itself. Aspects of it are necessary to move around in your search for solutions to the problems it presents because the world moves and you cannot be static about what is moving. Sometimes you comprehend a photo in seconds, sometimes it takes hours or days. There is no standard plan or pattern for this. You must be alert to your brain, eyes, and heart, and have a flexible body.

事物本身是如此丰富的素材，摄影师必须抵制诱惑去做所有事情。从生命的原材料中切割、选择，但要带着区别切割。工作时，摄影师必须准确的知道要做的是什么？有时，可能有一种在某个特定的状态或场景拍到了非常强的照片的感觉；然而，因为强迫性的拍摄，不能准确预见这种状态和场景将如何展开。所以，必须留在现场，以防场景元素再次偏离核心。同时，要避免像机枪手一样拍摄，虽然拍摄是必需的，但，弄乱记忆的无用记录会让负担很重，破坏整个报道的准确性。

The things themselves are so rich in material that the photographer must resist the temptation to do it all. Cut, choose from the raw materials of life, but cut with distinction. When working, the photographer must know exactly what to do? At times, there may be a feeling that a particular state or scene has been photographed very strongly; however, because of the compulsive shooting, it is impossible to predict exactly how that state and scene will unfold. So, it’s imperative to stay on set in case the scene elements deviate from the core again. At the same time, avoid shooting like a machine gunner, although shooting is necessary, messing up memory with useless records can be taxing and undermine the accuracy of the entire story.

记忆很重要，尤其是对在以场景本身进行的速度所拍摄的每张照片的回忆。摄影师必须清楚，一定要如实记录现场，所有的记录要完全表达现场的意思，因为无法将场景倒回重新拍摄一次。

Memories are important, especially the recall of each photo taken at the speed at which the scene itself is taking place. The photographer must be clear and must record the scene truthfully, and all records must fully express the scene's meaning because it is impossible to rewind the scene and shoot again.

对于摄影师拍摄，可以做出两种选择，其中一个就是导致最后的遗憾。有一种是我们通过取景框观察主体进行选择。另一种是照片被打印出来后进行的选择。打印出之后，尽管都是正确的，但是必须淘汰照片，因为它们不是最厉害的。当清楚地知道失败的地方时，就太晚了。这时经常回忆起在实际拍摄照片时的感觉。是不是由不确定性导致的怀疑？是不是在自己和展开的事件之间有一些物理鸿沟？是不是有一些很简单但与整个图片相关的细节没有被考虑周到？或是一瞥经常性的模糊，视线飘移了？

For photographers shooting, two choices can be made, one of which is to lead to the final regret. One is that we select by looking at the subject through the viewfinder. The other is a selection made after the photo is printed. After printing, although they are all correct, the photos must be eliminated because they are not the best. When it is clear where the failure is, it is too late. At this time, I often recall how I felt when the photo was actually taken. Is doubt caused by uncertainty? Is there some physical gulf between oneself and the unfolding events? Are there simple details that are not thought through in relation to the whole picture? Or is the glance constantly blurred, and the vision wanders?

我们每个人的空间的开始和偏移都是从眼睛开始的，从一个地方逐渐扩大到无限。空间，时间，或多或少地刺激着我们，然后从视觉上离开我们，在我们的记忆中被关闭，自我调整。所有表达手段中，摄影仅仅是永远固定精确和短暂瞬间的一种。摄影师一直在处理正在消失的事情，当它们消失了，没有什么可以让它们再回来。摄影师不能发展和印刷记忆。作家可以去体现它们，虽然有一段大脑忘记的时期，但他的潜意识在整理他的想法，把想法写成文字以前，可以将几个相关元素连接起来。但是，对于摄影师来说，离去的永远离去。一旦回到酒店，故事就不能重演了。摄影师的任务是感知现实，照相机几乎同时记录它。既不能在拍摄时操作现实，也不能在暗房里修改结果。

The beginning and offset of each of our spaces begins with the eye and gradually expands from one place to infinity. Space, time, stimulates us more or less, then leaves us visually, closed in our memory, self-regulating. Of all the means of expression, photography is the only one that permanently fixes precise and fleeting moments. Photographers have been dealing with things that are disappearing, and when they are gone, nothing can bring them back. Photographers cannot develop and print memories. The writer can embody them, although there is a period of time when the brain forgets, his subconscious mind can connect several related elements before putting them into words. However, for photographers, what is gone is gone forever. Once back at the hotel, the story cannot be repeated. The photographer's task is to perceive reality, and the camera records it almost simultaneously. Neither manipulating reality while shooting nor modifying the results in the darkroom.

在拍摄照片故事的时候，我们计算积分和回合，更像拳击裁判。无论我们努力拍摄怎样的照片故事，我们一定是以“入侵者”的身份进入的。所以，要悄悄靠近主体，这是最基本的，尽管主体有可能是静物，比如:一只天鹅绒的手，一只鹰的眼睛，我们都应该这样。另外，如果只是出于对实际光线的尊重，就不要借助闪光灯拍照，即使根本没有光线。闪光灯的“入侵性”太难以忍受。

When shooting photo stories, we count points and rounds, more like a boxing referee. No matter what photo story we try to make, we must enter as an "intruder." So, it's basic to get close to the subject, even though the subject may be a still life, like a velvet hand, an eagle's eye, we should all be. Also, if it's just out of respect for the actual light, don't take a photo with a flash, even if there's no light at all. The "intrusiveness" of the flash is too unbearable.

专业性依靠摄影师与被拍对象建立关系，如果这是失败的，可能搞砸一切事情。因为当主体有任何的不安，相机就不能捕捉到他消失的个性。我们必须不引人注目地到很近的范围靠近主体。不同国家，不同社会群体，人们的反应迥异，如何靠近没有系统性的方法，每一个案例都是独立的。如果你让自己观察，甚至只是把测光表拿出来，此刻应该做的唯一事情是忘记摄影，包容地允许冲向你的孩子像毛刺一样紧贴你的膝盖。

Professionalism relies on the photographer to build a relationship with the subject, and if that fails, it can screw everything up. Because when the subject has any unease, the camera cannot capture his disappearing personality. We must approach the subject unobtrusively to a very close range. In different countries, and different social groups, people react very differently, and there is no systematic way to approach, and each case is independent. If you allow yourself to observe, or even just get the light meter out, the only thing you should do at the moment is to forget about photography and accommodatingly allow the rushing child to cling to your knee like a burr.

下面是2022年荷赛获奖作品节选：(原文及图片来自荷赛官网）

The following comes from excerpts of 2022 World Press Contest awarded works: (texts and photos come from World Press website)

Save forest fire

Indigenous Australians have strategically burned land to protect their environment for tens of thousands of years. In a practice known as cool burning, fires move slowly, burn only the undergrowth, and remove the build-up of fuel that feeds bigger blazes. As a result, these traditional burns prevent larger, more destructive fires from occurring in the hotter, dryer months of the year. The Nawarddeken people, one of the traditional owners of West Arnhem Land in the north of Australia, see fire as a way to rejuvenate the land, and use it as a tool to manage their 1.39 million hectare homeland. Warddeken rangers use traditional knowledge and combine it with contemporary technologies such as aerial burning and digital mapping to prevent wildfires. In doing so, they have successfully decreased the amount of climate-heating CO2. The emissions saved earn carbon credits, and the proceeds are invested in the community and environmental projects.

The photographer is an Australian who once lived in West Arnhem Land and was accepted into a local community. He sees sharing the Warddeken rangers’ solution to wildfires important due to the climate crisis and the intensive bushfires Australia has seen in recent years.

数万年来，澳大利亚土著人战略性地烧毁土地以保护他们的环境。在一种被称为冷燃烧的做法中，火焰移动缓慢，只燃烧灌木丛，并清除助长更大火焰的燃料堆积。因此，这些传统的火烧可以防止在一年中更热、更干燥的月份发生更大、更具破坏性的火灾。 Nawarddeken 人是澳大利亚北部西阿纳姆地的土著所有者之一，他们将火灾视为使土地恢复活力的一种方式，并将其用作管理其 139 万公顷家园的工具。Warddeken 护林员利用传统知识并将其与空中燃烧和数字测绘等现代技术相结合，以防止野火。通过这样做，他们成功地减少了加热气候的二氧化碳。节省的排放量获得碳信用，收益投资于社区和环境项目。

摄影师是一位澳大利亚人，曾居住在西阿纳姆地，并被当地社区接纳。由于气候危机和澳大利亚近年来发生的密集丛林大火，他认为分享沃德肯护林员对野火的解决方案很重要。

Matthew Abbott (1984)

is a storyteller and photojournalist based in Sydney. He specializes in identifying, researching and executing in-depth long form visual stories. He believes that storytelling is most effective and powerful when it is based on a close connection to the subjects and an understanding of the stories behind the lens.

Matthew Abbott (1984)

是悉尼的一名故事家和摄影记者。他擅长识别、研究和执行深入的长篇视觉故事。他认为，当讲故事基于与主题的密切联系以及对镜头背后故事的理解时，它是最有效和最有力的。

Nawarddeken elder Conrad Maralngurra burns grass to protect the Mamadawerre community from late-season wildfires, in Mamadawerre, Arnhem Land, Australia. The late-evening fire will die out naturally once the temperature drops and moisture levels rise.

纳瓦德肯长老Conrad Maralngurra 烧草保护Mamadawerre社区晚季的野火。位于 Mamadawerre，澳大利亚阿纳姆地。这火将在温度降低和水分含量上升时自然熄灭。

Stacey Lee (11, left) sets the bark of trees alight to produce a natural light source to help hunt for file snakes (Acrochordus arafurae), in Djulkar, Arnhem Land, Australia.

Stacey Lee（11，左）点燃树皮用自然光来帮助狩猎阿拉佛拉瘰鳞蛇（Acrochordus arafurae)，位于阿纳姆的 Djulkar土地，澳大利亚。

A group of Narwarddeken women elders hunt for turtles with homemade tools on floodplains near Gunbalanya, Arnhem Land, Australia. They spent all day finding just two turtles, which are a popular delicacy. Soon the grass will be burnt to make the hunt easier.

一群 Narwarddeken 女长辈带着自制的工具在澳大利亚阿纳姆地Gunbalanya附近的洪泛区打海龟。他们花了一整天才找到两只很受欢迎，美味的海龟。很快草就会烧毁以使狩猎更容易。

During a five-day bushwalk across several clan estates early in the dry season, a family follows a fire lit by other members of the clan, to help guide them on their journey and to clear the land to prevent destructive fires.

早期旱季在为期五天的丛林徒步中跨越了几个氏族庄园，一家人跟随氏族的其他成员点燃的火来帮助引导他们前进和清理土地以防止破坏性的火灾。