David Griffin: How photography connects us

譯者: Leona Wen-Chuan Lin 審譯者: Marie Wu

Let's just start by looking at some great photographs.

一開始讓我們先來看一些美麗的照片，

This is an icon of National Geographic,

這張是「國家地理雜誌」的代表圖像，

an Afghan refugee taken by Steve McCurry.

由史蒂芬．麥克力所拍攝的阿富汗難民，

But the Harvard Lampoon is about to come out

但是我聽說「哈佛諷刺」雜誌準備出版一期

with a parody of National Geographic,

諷刺性的「國家地理雜誌」，

and I shudder to think what they're going to do to this photograph.

我不敢想像他們要怎樣處理這張照片，

Oh, the wrath of Photoshop.

或許用Photoshop亂搞一番吧。

This is a jet landing at San Francisco, by Bruce Dale.

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，

He mounted a camera on the tail.

他將照相機固定在機尾。

A poetic image for a story on Tolstoy, by Sam Abell.

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。

Pygmies in the DRC, by Randy Olson.

藍迪．歐森為剛果的俾格米人所拍攝的照片，

I love this photograph because it reminds me

我很喜歡這張照片，因為它讓我想到

of Degas' bronze sculptures of the little dancer.

竇加的那些小芭蕾舞者的銅雕作品。

A polar bear swimming in the Arctic, by Paul Nicklen.

保羅.尼克林的「極地裡游泳的北極熊」，

Polar bears need ice to be able to move back and forth --

北極熊們需要利用冰塊才能到處移動，

they're not very good swimmers --

他們並不是很會游泳，

and we know what's happening to the ice.

而我們都知道冰山所面臨的危機。

These are camels moving across the Rift Valley in Africa,

這些是穿越非洲裂谷的駱駝群，

photographed by Chris Johns.

由克里斯．約翰所拍攝，

Shot straight down, so these are the shadows of the camels.

從正上方往下拍攝，所以這些是駱駝的影子。

This is a rancher in Texas, by William Albert Allard,

這是威廉．亞伯特．阿拉德拍攝之德州農場主人，

a great portraitist.

一位很棒的肖像攝影師。

And Jane Goodall, making her own special connection,

這是珍．古德，她試圖建立特殊的情感交流，

photographed by Nick Nichols.

由尼克．尼可所拍攝。

This is a soap disco in Spain, photographed by David Alan Harvey.

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，

And David said that there was lot of weird stuff

大衛說在舞池裡

happening on the dance floor.

有很多怪異的東西，

But, hey, at least it's hygienic.

不過，嘿，至少他們都很衛生。

(Laughter)

(笑聲)

These are sea lions in Australia doing their own dance,

這是澳洲的海獅們在跳舞，

by David Doubilet.

由大衛.度比樂所拍攝。

And this is a comet, captured by Dr. Euan Mason.

然後這是尤恩.梅森博士所捕捉到的彗星畫面。

And finally, the bow of the Titanic, without movie stars,

最後，這是鐵達尼號的船頭，只差沒有明星而已，

photographed by Emory Kristof.

這是愛莫瑞.克里斯托的作品。

Photography carries a power that holds up

攝影作品具有一種力量，可以讓我們

under the relentless swirl of today's saturated, media world,

在媒體資訊泛濫的世界裡，把持住自己，

because photographs emulate the way

為我們心靈裡某個重要的時刻

that our mind freezes a significant moment.

留下珍貴記憶。

Here's an example.

我舉個例子，

Four years ago, I was at the beach with my son,

四年前我和我兒子到海邊，

and he was learning how to swim

他那時還在學習如何在

in this relatively soft surf of the Delaware beaches.

溫和的達拉威海邊的浪花裡游泳，

But I turned away for a moment, and he got caught into a riptide

但就在我一不留神時，他被突來的浪濤打了下去，

and started to be pulled out towards the jetty.

然後開始被浪跩向防波堤去。

I can stand here right now and see,

我現在站在這裡，還可以清楚看到，

as I go tearing into the water after him,

當我衝進水裡救他時，

the moments slowing down and freezing into this arrangement.

時間慢了下來，並凍結在當下那一瞬間，

I can see the rocks are over here.

我可以看見石頭在這裡，

There's a wave about to crash onto him.

而那頭有個浪快要打到他身上，

I can see his hands reaching out,

我可以看見他伸出雙手，

and I can see his face in terror,

並看見他恐懼的臉龐，

looking at me, saying, "Help me, Dad."

看著我，並說「救我，爸！」

I got him. The wave broke over us.

我抓住他，浪打在我們身上，

We got back on shore; he was fine.

我們回到岸上，他沒事，

We were a little bit rattled.

但我們都有點小驚嚇。

But this flashbulb memory, as it's called,

這「瞬間記憶」恰如其字面上之涵意，

is when all the elements came together to define

不只包含這事件本身的所有的元素，

not just the event, but my emotional connection to it.

還包含我們內心對該事件的情感連結。

And this is what a photograph taps into

照片也具有這種直擊人心的力量，

when it makes its own powerful connection to a viewer.

讀者在觀看的時候就產生了情感連結。

Now I have to tell you,

現在我要告訴你們，

I was talking to Kyle last week about this,

上星期我跟凱爾提到這件事，

that I was going to tell this story.

說我準備要說這個小故事時，

And he said, "Oh, yeah, I remember that too!

他說，「喔，對，我也記得！

I remember my image of you

在我的印象中，

was that you were up on the shore yelling at me."

你就站在岸邊對我大呼小叫。」

(Laughter)

(笑聲)

I thought I was a hero.

我還以為我是個英雄哩...

(Laughter)

(笑聲)

So,

所以...

this represents -- this is a cross-sample of

這表示 -- 這些照片全都是

some remarkable images taken by some of the world's greatest photojournalists,

由世界上最優秀的攝影記者，用他們的頂尖技術

working at the very top of their craft --

所拍攝出的偉大照片。

except one.

除了這張以外，

This photograph was taken by Dr. Euan Mason

這是尤恩．梅森博士

in New Zealand last year,

去年在紐西蘭所拍的照片，

and it was submitted and published in National Geographic.

並送到「國家地理雜誌」刊出。

Last year, we added a section to our website called "Your Shot,"

去年我們在網站上加了這項叫「素人攝影師」的活動，

where anyone can submit photographs for possible publication.

讓大眾可以將自己的攝影作品寄來投稿，並有機會刊出。

And it has become a wild success,

這個活動非常的成功，

tapping into the enthusiast photography community.

引起了熱衷攝影族群的廣大迴響。

The quality of these amateur photographs

這些業餘作品的水準，

can, at times, be amazing.

有時候是非常驚人的，

And seeing this reinforces, for me,

看見這些作品讓我相信，

that every one of us has at least one or two

我們每個人都至少有能力拍攝一或二幅

great photographs in them.

很棒的照片；

But to be a great photojournalist,

但是要成為一個很棒的攝影記者，

you have to have more than just one or two

你就不能只有一、二張

great photographs in you.

出色的照片，

You've got to be able to make them all the time.

你必須能夠持續穩定地拍出很棒的照片。

But even more importantly,

但更重要的是，

you need to know how to create a visual narrative.

你得知道該怎麼讓畫面說話，

You need to know how to tell a story.

你要懂得說故事的技巧。

So I'm going to share with you some coverages

所以現在我要讓各位看一些封面照片，

that I feel demonstrate the storytelling power of photography.

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

攝影師尼克．尼可為了記錄

a very small and relatively unknown wildlife sanctuary

一個非常小且不太知名的野生動物保護區，

in Chad, called Zakouma.

而前往查德一個叫做扎寇瑪的地方。

The original intent was to travel there

最初的想法是去到那裡，

and bring back a classic story of diverse species,

拍一些不同野生動物的故事回來，

of an exotic locale.

帶一點異國風情就好，

And that is what Nick did, up to a point.

這就是尼克拍攝的成果。

This is a serval cat.

這是一隻山貓，

He's actually taking his own picture,

牠其實是在幫自己照相，

shot with what's called a camera trap.

利用所謂的「陷阱式攝影機」。

There's an infrared beam that's going across,

在那裡有條紅外線穿過這個區域，

and he has stepped into the beam and taken his photograph.

牠一旦走進感應區域就會啟動攝影機。

These are baboons at a watering hole.

這是一群在水邊的狒狒，

Nick -- the camera, again, an automatic camera

尼克 -- 這架攝影機也是陷阱式攝影機 --

took thousands of pictures of this.

拍下了上千張狒狒的相片，

And Nick ended up with a lot of pictures

最後尼克照了非常多張

of the rear ends of baboons.

狒狒們的屁股。

(Laughter)

（笑聲）

A lion having a late night snack --

一隻獅子在享用宵夜，

notice he's got a broken tooth.

請注意看他有一顆斷掉的牙齒。

And a crocodile walks up a riverbank toward its den.

然後是一隻鱷魚爬向河岸上的巢穴，

I love this little bit of water

我很喜歡那些水滴

that comes off the back of his tail.

順著他的尾巴滴下來的樣子。

But the centerpiece species of Zakouma are the elephants.

但在扎寇瑪裡，最重要的動物是大象，

It's one of the largest intact herds in this part of Africa.

他們是非洲這地區內最大最完整的一群。

Here's a photograph shot in moonlight,

這張是在月色下的照片，

something that digital photography has made a big difference for.

數位攝影機能照出非常不一樣的照片。

It was with the elephants that this story pivoted.

大象是這個故事最主要的部分，

Nick, along with researcher Dr. Michael Fay,

尼克與研究員麥克‧菲博士

collared the matriarch of the herd.

找到了象群的首領，

They named her Annie,

他們叫他安妮，

and they began tracking her movements.

然後開始追蹤牠的蹤跡。

The herd was safe within the confines of the park,

象群待在封閉的保護區內很安全，

because of this dedicated group of park rangers.

因為有一群管理員專責保護他們。

But once the annual rains began,

但是一旦雨季開始，

the herd would begin migrating to feeding grounds outside the park.

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.

這就是麻煩的開始，

For outside the safety of the park were poachers,

在安全的保護區外有盜獵者，

who would hunt them down only for the value of their ivory tusks.

他們會為了奪取有價值的象牙而獵殺大象。

The matriarch that they were radio tracking,

攝影師利用無線電追蹤的象群首領，

after weeks of moving back and forth, in and out of the park,

在進進出出保護區數週後，

came to a halt outside the park.

追蹤器最後停在保護區外不動了。

Annie had been killed, along with 20 members of her herd.

安妮被殺掉了，連同牠的20個同伴也被殺了，

And they only came for the ivory.

這一切都只是為了象牙。

This is actually one of the rangers.

這是其中一個管理員，

They were able to chase off one of the poachers and recover this ivory,

他們想辦法追到了其中一個盜獵者，追回了這只象牙。

because they couldn't leave it there,

他們不能將象牙留在那裡，

because it's still valuable.

因為畢竟還是有價值的東西。

But what Nick did was he brought back

尼克所做的，卻是為我們帶回一個故事，

a story that went beyond the old-school method

那不是一般老掉牙的故事，

of just straight, "Isn't this an amazing world?"

不是那種「這個世界很棒吧？」的故事，

And instead, created a story that touched our audiences deeply.

而是一個深深讓觀眾感動的故事。

Instead of just knowledge of this park,

尼克除了帶回關於這個保護區的知識，

he created an understanding and an empathy

他還帶領我們瞭解並同情

for the elephants, the rangers and the many issues

這些大象、管理員、和其他許多人類

surrounding human-wildlife conflicts.

與野生動物相衝突的議題。

Now let's go over to India.

現在，讓我們來到印度。

Sometimes you can tell a broad story in a focused way.

有時後你可以將一個很大的故事聚焦在某一點。

We were looking at the same issue that Richard Wurman

那時我們正在討論理查．沃爾曼

touches upon in his new world population project.

所探討的新世界人口專案這個主題，

For the first time in history,

這是歷史上第一次，

more people live in urban, rather than rural, environments.

都市的人口超過鄉村，

And most of that growth is not in the cities,

大部分的人口成長並不是在城市裡，

but in the slums that surround them.

而是在圍繞城市邊緣的貧民窟裡。

Jonas Bendiksen, a very energetic photographer,

喬那斯．班迪克森這一位精力過人的攝影師

came to me and said,

來找我說，

"We need to document this, and here's my proposal.

「我們必須將這個記錄下來，我的提議是：

Let's go all over the world and photograph every single slum around the world."

讓我們到全世界各地，將世界上每個貧民窟都拍攝下來。」

And I said, "Well, you know, that might be a bit ambitious for our budget."

然後我說：「你知道的，這好像有點超出預算了。」

So instead, what we did was

所以我們決定，

we decided to, instead of going out and doing what would result

與其在外面到處跑，

in what we'd consider sort of a survey story --

報導我們所謂的調查故事，

where you just go in and see just a little bit of everything --

那有點走馬看花的感覺，

we put Jonas into Dharavi,

還不如把喬那斯派去哈諾非，

which is part of Mumbai, India,

就在印度孟買，

and let him stay there, and really get into

讓他待在那裡，深入到城市的重要部分，

the heart and soul of this really major part of the city.

真正瞭解其中的精髓。

What Jonas did was not just go and do a surface look

喬那斯所做的絕不是單純地看看

at the awful conditions that exist in such places.

這個地區到底有多糟糕，

He saw that this was a living and breathing and vital part

反之，他看到了這裡是人們居住、呼吸的地方，

of how the entire urban area functioned.

也是整個城市運作最核心的地方。

By staying tightly focused in one place,

因為只待在這裡，深入地瞭解這裡，

Jonas tapped into the soul and the enduring human spirit

喬那斯精準地掌握了生活在這個社區裡的人們，

that underlies this community.

他們的靈魂與毅力，

And he did it in a beautiful way.

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.

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。

We teamed up underwater photographer Brian Skerry

我們找來海底攝影師布來恩．司凱瑞

and photojournalist Randy Olson

以及攝影記者藍迪．歐森，

to document the depletion of the world's fisheries.

來記錄全世界漁源耗竭的情形。

We weren't the only ones to tackle this subject,

我們不是唯一報導這類主題的人，

but the photographs that Brian and Randy created

但是布來恩與藍迪所拍攝的照片，

are among the best to capture both the human

最能忠實呈現人工漁場與海洋漁場

and natural devastation of overfishing.

因過度捕撈而耗竭的情形。

Here, in a photo by Brian,

這是布來恩所拍的照片，

a seemingly crucified shark is caught up

一隻在巴赫海邊被流刺網捕獲的鯊魚，

in a gill net off of Baja.

像是被人釘在十字架上。

I've seen sort of OK pictures of bycatch,

我看過一些關於意外漁獲的照片，都還算過得去，

the animals accidentally scooped up

這些魚都是在漁夫們捕撈特定魚類時，

while fishing for a specific species.

不小心跳進漁網裡的。

But here, Brian captured a unique view

但是這張照片，是布來恩鑽到漁船下面，

by positioning himself underneath the boat

等到漁夫們將不要的漁獲丟棄時，

when they threw the waste overboard.

所拍攝到的獨特畫面。

And Brian then went on to even greater risk

然後布來恩甚至冒了更大的危險，

to get this never-before-made photograph

拍攝了這張前所未有的照片，

of a trawl net scraping the ocean bottom.

這是拖網在海床上拖行的畫面。

Back on land, Randy Olson photographed

回到陸地上，這是藍迪‧歐森在非洲的

a makeshift fish market in Africa,

一個臨時的魚市場拍到的照片，

where the remains of filleted fish were sold to the locals,

這條幾乎只剩骨頭的魚被賣給了當地居民，

the main parts having already been sent to Europe.

而魚肉則已經外銷至歐洲。

And here in China, Randy shot a jellyfish market.

這張是藍迪在中國拍攝的水母市場照片。

As prime food sources are depleted,

當最上層的食物來源已經耗盡，

the harvest goes deeper into the oceans

漁夫就必須更深入海洋，

and brings in more such sources of protein.

來捕捉像這樣的蛋白質來源，

This is called fishing down the food chain.

也就是往食物鏈更下方捕撈魚獲。

But there are also glimmers of hope,

但我們仍然有一絲希望，

and I think anytime we're doing a big, big story on this,

我認為每當我們在探討某個重大的話題時，

we don't really want to go

我們並不只是想去某個地方，

and just look at all the problems.

只想挖掘到問題而已，

We also want to look for solutions.

我們還想尋找解決之道。

Brian photographed a marine sanctuary in New Zealand,

布來恩拍攝了紐西蘭的一處海洋保護區，

where commercial fishing had been banned --

在這裡任何商業行為的捕撈都是不被准許的，

the result being that the overfished species have been restored,

而那些因過渡捕撈而減少的魚種才得以保存下來，

and with them a possible solution for sustainable fisheries.

這可能是維持漁業運作的好方法。

Photography can also compel us to confront

攝影也可以強迫我們去面對

issues that are potentially distressing and controversial.

令人煩惱及具有爭議性的議題。

James Nachtwey, who was honored at last year's TED,

詹姆斯．納許威，去年曾得到TED的表揚，

took a look at the sweep of the medical system

他觀察了專為從伊拉克戰爭

that is utilized to handle the American wounded coming out of Iraq.

回來的美國傷兵，所設立的醫療系統，

It is like a tube where a wounded soldier enters on one end

它就像一條管子，傷兵從一頭進入，

and exits back home, on the other.

然後從另一頭出來、回家。

Jim started in the battlefield.

詹姆從戰場上開始拍攝他的照片，

Here, a medical technician tends to a wounded soldier

這張照片是一位直昇機上的醫療人員，

on the helicopter ride back to the field hospital.

他在前往野戰醫院的路上試著為受傷士兵療傷。

Here is in the field hospital.

這是在野戰醫院，

The soldier on the right has the name of his daughter

右邊的這個士兵將他女兒的名字，

tattooed across his chest, as a reminder of home.

紋在自己的胸前，提醒自己要回家。

From here, the more severely wounded are transported

在這裡，更嚴重的傷兵則被送往德國，

back to Germany, where they meet up with their families

他們在那裡第一次

for the first time.

和自己的家人見面，

And then back to the States to recuperate at veterans' hospitals,

然後再被送回到美國的退伍軍人醫院療養，

such as here in Walter Reed.

就像這張在華德瑞得醫院的照片一樣。

And finally, often fitted with high-tech prosthesis,

最後，大部分的人都裝上了高科技的義肢，

they exit the medical system and attempt

然後離開了這樣的醫療體系，

to regain their pre-war lives.

試著重新拾回戰前的生活。

Jim took what could have been a straight-up medical science story

詹姆拍攝的是嚴肅的醫療科學故事，

and gave it a human dimension that touched our readers deeply.

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

這些故事樹立了典範，

of how photography can be used

讓我們知道攝影可以幫助我們

to address some of our most important topics.

強調一些重要議題。

But there are also times when photographers

但也有些時候，

simply encounter things that are, when it comes down to it,

攝影師只是剛好遇到有趣的事物，

just plain fun.

就把它拍成照片了。

Photographer Paul Nicklin traveled to Antarctica

攝影師保羅．尼克林到南極

to shoot a story on leopard seals.

去拍攝海豹的故事，

They have been rarely photographed, partly because they are considered

很少人曾拍攝過牠們，部分原因在於

one of the most dangerous predators in the ocean.

人們被認為牠們是海裡最危險的動物之一。

In fact, a year earlier, a researcher had been

事實上，一年前曾有位研究員

grabbed by one and pulled down to depth and killed.

被一隻海豹抓住並被拖到深海而死亡，

So you can imagine Paul was maybe a little bit hesitant

所以你可以想像得到，保羅或許有點猶豫，

about getting into the water.

到底要不要下到海裡。

Now, what leopard seals do mostly is, they eat penguins.

現在海豹最常做的事就是捕食企鵝，

You know of "The March of the Penguins."

你知道「企鵝進行曲」吧？

This is sort of the munch of the penguins.

這個則是「企鵝咀嚼曲」（英文的進行曲與咀嚼諧音）

(Laughter)

（笑聲）

Here a penguin goes up to the edge and looks out

這裡有隻企鵝從岸邊往海裡看，

to see if the coast is clear.

看看海岸邊是否安全，

And then everybody kind of runs out and goes out.

然後大夥們開始往外衝跳進海裡，

But then Paul got in the water.

而保羅也進入水底，

And he said he was never really afraid of this.

他說他從未感到害怕。

Well, this one female came up to him.

有一隻母海豹靠近他，

She's probably -- it's a shame you can't see it in the photograph,

牠大約有 -- 很可惜你們無法從照片中判斷 --

but she's 12 feet long.

大約12呎長，

So, she is pretty significant in size.

所以牠的體型很龐大，

And Paul said he was never really afraid,

但保羅說他一點也不害怕，

because she was more curious about him than threatened.

因為牠對他好奇多過於威脅。

This mouthing behavior, on the right,

右邊這張牠張開大口的照片，

was really her way of saying to him, "Hey, look how big I am!"

像是在對他說「嘿！看看我有多大隻」，

Or you know, "My, what big teeth you have."

或是「天啊！這是多大的牙齒啊！」

(Laughter)

(笑聲)

Then Paul thinks that she simply took pity on him.

然後保羅覺得牠只是同情他，

To her, here was this big, goofy creature in the water

對牠來說，這個水域裡有這個大又呆的東西，

that for some reason didn't seem to be interested

讓牠對於追捕企鵝這件事，

in chasing penguins.

不再有任何興趣了。

So what she did was she started to bring penguins to him,

所以牠開始將活生生的企鵝，

alive, and put them in front of him.

帶到他的面前，

She dropped them off, and then they would swim away.

在他面前將企鵝放開，讓企鵝可以逃走，

She'd kind of look at him, like "What are you doing?"

牠看著他，像是在問「你在幹嘛啊？」

Go back and get them, and then bring them back

然後再回去將企鵝捉回來，

and drop them in front of him.

再丟到他面前。

And she did this over the course of a couple of days,

在好幾天內牠不斷地重複這樣的行為，

until the point where she got so frustrated with him

直到牠對保羅感到失望透了，

that she started putting them directly on top of his head.

才開始將企鵝直接丟在他的頭上。

(Laughter)

(笑聲)

Which just resulted in a fantastic photograph.

所以剛好有了這張很棒的照片。

(Laughter)

(笑聲)

Eventually, though, Paul thinks that she just figured

最後，保羅認為牠終於發現

that he was never going to survive.

保羅無法在這裡生存下去。

This is her just puffing out, you know,

這是牠在嘆氣，你知道的，

snorting out in disgust.

用鼻子哼氣來表示牠的厭惡。

(Laughter)

(笑聲)

And lost interest with him, and went back to what she does best.

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

保羅為這種既神秘又未知的生物

mysterious and unknown creature,

拍攝了照片，

and came back with not just a collection of photographs,

他不僅僅是帶回一系列的照片，

but an amazing experience and a great story.

還帶回來迷人的經驗與很棒的故事。

It is these kinds of stories,

然而，也就是這種

ones that go beyond the immediate or just the superficial

能夠超越拍攝的瞬間、超越表面的故事，

that demonstrate the power of photojournalism.

才能展現攝影記者的力量。

I believe that photography can make a real connection to people,

我深信攝影可以和人們產生情感的連結，

and can be employed as a positive agent

也可以用來傳遞正面的訊息，

for understanding the challenges and opportunities

讓我們能夠瞭解，現今世界所遭遇到的

facing our world today.

挑戰與機會。

Thank you.

謝謝

(Applause)

(掌聲)