摄影的力量外文翻译资料

The Power of Photography

Photographers use their cameras as tools of exploration, passports to inner sanctums, instruments for change. Their images are proof that photography matters—now more than ever.

By Robert Draper

Thirty-four years before the birth of this magazine, the Danish philosopher Soslash;ren Kierkegaard sourly prophesied a banal fate for the newly popularized art of photography. “With the daguerreotype,” he observed, “everyone will be able to have their portrait taken—formerly it was only the prominent—and at the same time everything is being done to make us all look exactly the same, so we shall only need one portrait.”

The National Geographic Society did not set out to test Kierkegaardrsquo;s thesis, at least not right away. Its mission was exploration, and the gray pages of its official journal did not exactly constitute a visual orgy. Years would go by before National Geographicrsquo;s explorers would begin using the camera as a tool to bring back what is now its chief source of fame: photographic stories that can alter perceptions and, at their best, change lives.

By wresting a precious particle of the world from time and space and holding it absolutely still, a great photograph can explode the totality of our world, such that we never see it quite the same again. After all, as Kierkegaard also wrote, “the truth is a snare: you cannot have it, without being caught.”

Today photography has become a global cacophony of freeze-frames. Millions of pictures are uploaded every minute. Correspondingly, everyone is a subject, and knows it—any day now we will be adding the unguarded moment to the endangered species list. Itrsquo;s on this hyper-egalitarian, quasi-Orwellian, all-too-camera-ready “terra infirma” that National Geographicrsquo;s photographers continue to stand out. Why they do so is only partly explained by the innately personal choices (which lens for which lighting for which moment) that help define a photographerrsquo;s style. Instead, the very best of their images remind us that a photograph has the power to do infinitely more than document. It can transport us to unseen worlds.

When I tell people that I work for this magazine, I see their eyes grow wide, and I know what will happen when I add, as I must: “Sorry, Irsquo;m just one of the writers.” A National Geographic photographer is the personification of worldliness, the witness to all earthly beauty, the occupant of everybodyrsquo;s dream job. Irsquo;ve seen The Bridges of Madison County—I get it, Irsquo;m not bitter. But I have also frequently been thrown into the company of a National Geographic photographer at work, and what I have seen is everything to admire and nothing whatsoever to envy. If what propels them is ferocious determination to tell a story through transcendent images, what encumbers their quest is a daily litany of obstruction (excess baggage fees, inhospitable weather, a Greek chorus of “no”), interrupted now and then by disaster (broken bones, malaria, imprisonment). Away from home for many months at a time—missing birthdays, holidays, school plays—they can find themselves serving as unwelcome ambassadors in countries hostile to the West. Or sitting in a tree for a week. Or eating bugs for dinner. I might add that Einstein, who snarkily referred to photographers as lichtaffen, meaning “monkeys drawn to light,” did not live by 3 a.m. wake-up calls. Letrsquo;s not confuse nobility with glamour. What transfixes me, almost as much as their images, is my colleaguesrsquo; cheerful capacity for misery.

Apparently they wouldnrsquo;t have it any other way. The lodestone of the camera tugged at each of them from their disparate origins (a small town in Indiana or Azerbaijan, a polio isolation ward, the South African military), and over time their work would reflect differentiated passions: human conflict and vanishing cultures, big cats and tiny insects, the desert and the sea. What do the National Geographic photographers share? A hunger for the unknown, the courage to be ignorant, and the wisdom to recognize that, as one says, “the photograph is never taken—it is always given.”

In the field Irsquo;ve seen some of my lens-toting compatriots sit for days, even weeks, with their subjects, just listening to them, learning what it is they have to teach the world, before at last lifting the camera to the eye. Our photographers have spent literally years immersed in the sequestered worlds of Sami reindeer herders, Japanese geisha, and New Guinea birds of paradise. The fruit of that commitment can be seen in their photographs. Whatrsquo;s not visible is their sense of responsibility toward those who dared to trust the stranger by opening the door to their quiet world. Itrsquo;s a far riskier and time-consuming proposition to forgo the manipulated shot and instead view photography as a collaborative venture between two souls on either side of the lens.

Conscience is the other trait that binds these photographers. To experience the beauty of harp seals swimming in the Gulf of St. Lawrence is also to see the frailty of their habitat: scores of seal pups drowning due to the collapse of ice floes, a direct consequence of climate change. To witness the calamity of war in the gold-mining region of the Democratic Republic of the Congo is also to envision a glimmer of hope: Show the gold merchants in Switzerland what their profiteering has wrought, and maybe theyrsquo;ll cease their purchases.

In the past 125 years, it turns out, Kierkegaard has been proved both wrong and right about photography. The images in National Geographic have revealed a world not of sameness but of wondrous diversity. But they have also, increasingly, documented societies and species and landscapes threatened by our urge for homogenization. The magazinersquo;s latter-day explorers are often tasked with photographing places and creatures that a generation later may live only in these pages. How do you walk away from that? If my colleagues suffer a shared addi

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摄影的力量

摄影师把他们的相机作为探索工具，进入内部圣地的护照，改变仪器。 他们的图像证明了摄影重要性 - 现在比以往任何时候都更加重要。

作者：Robert Draper

在这本杂志诞生三十四年之前，丹麦哲学家Soslash;renKierkegaard讽刺地预言说新推出的摄影艺术将会命运不济。 他表示：“他们观察到，每个人都可以拍摄他们的肖像，原来它只是显眼的，同时一切都在做使我们看起来完全一样，所以我们只需要一幅画。”

国家地理学会并没有开始测试Kierkegaard的论文，至少不会立即去测试。 它的任务是探索，官方杂志的灰色页面并不完全构成视觉艺术。几年之后，国家地理局的探险家开始使用相机作为恢复过去的工具的摄影故事：摄影故事，可以改变观念，并尽可能改变生活。

通过从时间和空间夺取世界珍贵的颗粒，绝对静止，一张伟大的照片可以毁灭我们世界的整体，使我们再也看不到它了。 毕竟，正如基尔凯加尔还写道，“事实是一个圈套：你不能拥有它，也抓不住它。”

今天的摄影已经成为一个全球性的冻结框架。 每分钟就会上传数百万张图片。 相应地，每个人都是一个主题，并且知道 - 任何一天，我们就可以把无人守护的时刻添加到濒危物种列表中。 正是在这个超平均主义，准奥维尔式，全相机准备好的“地狱infirma”，国家地理的摄影师相继脱颖而出。 为什么他们这样做只是部分地解释了个人的个人选择（哪个镜头哪个照明哪个时刻）有助于定义摄影师的风格。相反，他们的最好的图像提醒我们，一张照片有能力比文件无限多。 它可以将我们运送到看不见的世界。

当我告诉人们我为这本杂志工作时，我看到他们的瞳孔放大，我知道当我多说一句话会发生什么，我只能说：“对不起，我只是作家之一。”国家地理摄影师世俗化的拟人化，全世界美女的见证，每个人都能成为梦想工作的占有者。我看过麦迪逊县的桥梁 - 我得到它，我并不辛苦。但是，我也经常被派遣到国家地理摄影师的工作公司，而我所看到的是一切值得欣赏的东西，没有任何羡慕。如果推动他们是凶猛的决心，通过超越的形象讲故事，他们的追求是每天一连串的障碍（超重的行李费，不适宜的天气，希腊合唱“否”），现在中断，然后是灾难（破碎）骨头，疟疾，监禁）。离家出走几个月，在失踪的生日，假期，学校游戏中，他们可以在敌对西方的国家中找到自己作为不受欢迎的大使。或者坐在树上一周。或吃晚饭的臭虫。我可能补充说，爱因斯坦，他将Snakely称摄影师称为lichtaffen，意思是“太阳晒屁股了”，没有在凌晨3点醒来。我们不要将贵族与魅力混为一谈。是什么让我，几乎与他们的形象一样，即使我的同事开心的苦难能力。

显然他们不会有任何其他方式。 相机的起源有不同的说法（印第安纳州或阿塞拜疆的一个小镇，脊髓灰质炎隔离病房，南非军队），随着时间的推移，他们的工作将反映出不同的激情：人类的冲突和消失的文化， 大猫和小昆虫，沙漠和大海。 国家地理摄影师分享什么？ 对未知的渴望，无知的勇气，以及智慧，正如人们所说，“照片永远不会被占用，它总是选择给予。”

在现场，我看到我的一些摄影同胞连坐在几天甚至几周，期间只要听他们的话，学习他们要教世界的东西，然后才能将相机抬起来。我们的摄影师已经沉迷于萨米驯鹿牧民，日本艺妓和新几内亚天堂之鸟的隔离世界。 这一承诺的成果可以在他们的照片中看到。 对于那些敢于相信陌生人的人来说，他们对安静的世界敞开大门，对他们的责任感是什么呢？ 放弃操纵的镜头是一个非常危险和耗时的主张，他们要做的是将摄影视为镜头两侧的两个灵魂。

良心是绑定这些摄影师的另一个恶魔。要体验在圣劳伦斯湾游泳的竖琴海豹的美丽，也是看到他们的栖息地的脆弱性：由于冰川崩溃而造成的数十只海豹溺水是气候变化的直接后果。目睹刚果民主共和国黄金地区的战争灾难，也可以想到措施：向瑞士的黄金商人展示他们的牟利行为，也许会停止购买。

在过去的125年中，事实证明，Kierkegaard对于摄影已被证明是错误的也是正确的。国家地理杂志中的图像显示出一个不是同一性但奇妙多样的世界。但是，他们也越来越多地记录了我们对同质化冲动所威胁的社会和物种和景观。这本杂志的后期探险家通常负责拍摄一代后来可能只在这些页面上生活的地方和生物。你怎么离开呢？如果我的同事遭受共同的命运，那就使用这个标志性杂志的强大的触及力和影响力来帮助拯救地球。这听起来很有声望吗？问瑞士黄金商人。他们看到马库斯·布莱斯戴尔（Marcus Bleasdale）在日内瓦展览中的形象，刚果黄金的采购几乎在一夜之间停止。

当然，每一位专业摄影师都希望“史诗般的射击”是一次机会和技巧的一次碰撞，在Joe Rosenthal的“硫磺岛”中获得照片即可进入万神殿，鲍勃·杰克逊与杰克·罗伯特（Jack Ruby）的相遇遇到了李·哈维奥斯瓦尔德和阿波罗8号航天员对地球的颜色描绘在其整体上。然而，改变游戏的照片不是国家地理摄影师所做的。最有代表性的照片，永远不会有任何人或任何历史。相反，它是Sharbat Gula，也是12岁的阿富汗女孩，摄影师Steve McCurry在1984年在巴基斯坦难民营遇到了她。她的强烈的海绿色眼睛从国家地理杂志1985年6月号的封面告诉了世界，就算一千名外交官和救济人员都不能做到。阿富汗女孩盯着我们促进了我们的集体潜意识，阻止了一个无休止的西方世界。这是真相的圈套。这使得我们立刻知道了她，我们再也不能坐以待毙。

McCurry在互联网上的扩散和智能手机的发明之前就已成了不朽的肖像。在一个看起来每天都会出现雪崩的世界中，那些眼睛是否还可以穿过这些混乱透过现象看到本质，或者发现隐藏的美丽？我想这个问题已经解决了。

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