改變世界的照片

　　導(dǎo)語：我們永遠(yuǎn)不要忽視傳媒的力量，可能有時候一張照片就足以改變世界。

　　In my industry, we believe that images can change the world. Okay, we're naive, we're bright-eyed and bushy-tailed. The truth is that we know that the images themselves don't change the world, but we're also aware that, since the beginning of photography, images have provoked reactions in people, and those reactions have caused change to happen.

　　干我們這行的人， 都相信圖片是可以改變世界的。 好吧，我們是很天真，我們又明亮的雙眼和毛絨絨的尾巴。 實際上，我們都知道， 圖片本身不會改變世界。 但我們也清楚，攝影業(yè)剛發(fā)展起來的時候， 圖片就已經(jīng)在人群中激起了波瀾。 而那些波瀾就造成了變革。

　　So let's begin with a group of images. I'd be extremely surprised if you didn't recognize many or most of them. They're best described as iconic: so iconic, perhaps, they're cliches. In fact, they're so well-known that you might even recognize them in a slightly or somewhat different form.

　　大家先看一組圖片吧。 如果你們沒認(rèn)出它們中的大部分， 我會很吃驚的。 這些都是被稱作“具有代表性”的圖片。 太有代表性了，可能算陳詞濫調(diào)了。 實際上，它們非常有名。 估計你都能 認(rèn)出他們的另一種形式。

　　But I think we're looking for something more. We're looking for something more. We're looking for images that shine an uncompromising light on crucial issues, images that transcend borders, that transcend religions, images that provoke us to step up and do something -- in other words, to act. Well, this image you've all seen. It changed our view of the physical world. We had never seen our planet from this perspective before. Many people credit a lot of the birth of the environmental movement to our seeing the planet like this for the first time -- its smallness, its fragility.

　　我覺得我們要的不止這些。 我們需要更多。 我們需要那些 在關(guān)鍵問題上決不妥協(xié)的圖片， 那些超越國界，超越宗教的圖片， 那些 讓我們勇敢站出來做些什么的圖片。 也就是，去改變。 這幅圖，你們都見過。 它改變了我們對物質(zhì)世界的認(rèn)知。 我們從沒在這個角度看我們的星球。 很多人都把環(huán)保運動的開始， 歸功于人們 第一次見到 這樣的地球， 它那么小，那么脆弱。

　　Forty years later, this group, more than most, are well aware of the destructive power that our species can wield over our environment. And at last, we appear to be doing something about it. This destructive power takes many different forms. For example, these images taken by Brent Stirton in the Congo. These gorillas were murdered, some would even say crucified, and unsurprisingly, they sparked international outrage. Most recently, we've been tragically reminded of the destructive power of nature itself with the recent earthquake in Haiti.

　　四十年后，這些環(huán)保團(tuán)體， 逐漸意識到我們這個物種 對環(huán)境的毀滅性破壞力。 后來，我們開始對此采取行動。 這些毀滅性破壞力表現(xiàn)在不同方面。 比方說布倫特·斯蒂爾頓(Brent Stirton) 在剛果拍攝的這些照片， 這些大猩猩被人宰殺，可能你還會說它們被釘在十字架上。 毫無疑問， 這些照片在國際上引起了強(qiáng)烈反響。 最近， 海地的地震， 讓我們認(rèn)識到了大自然本身的破壞力。

　　Well, I think what is far worse is man's destructive power over man. Samuel Pisar, an Auschwitz survivor, said, and I'll quote him, "The Holocaust teaches us that nature, even in its cruelest moments, is benign in comparison with man, when he loses his moral compass and his reason."

　　我覺得人類的自相殘殺 比上面說的那些可怕的多。 薩繆爾·皮薩(Samuel Pisar)，一個奧斯威辛集中營的幸存者 曾經(jīng)說過(我在這里引用他的話)， (納粹對猶太人的)屠殺告訴我們， 自然，即使是它最殘忍的時候， 和一個失去理智和道德準(zhǔn)則的人比起來， 還是要仁慈的多。

　　There's another kind of crucifixion. The horrifying images from Abu Ghraib as well as the images from Guantanamo had a profound impact. The publication of those images, as opposed to the images themselves, caused a government to change its policies. Some would argue that it is those images that did more to fuel the insurgency in Iraq than virtually any other single act. Furthermore, those images forever removed the so-called moral high ground of the occupying forces.

　　人類還有其他的暴行。 美軍虐囚的駭人圖片， 還有這些關(guān)塔那摩的圖片， 都產(chǎn)生了深遠(yuǎn)影響。 相較于這些照片本身， 它們的公開， 才是讓政府改變政策的原因。 有些人認(rèn)為，是這些照片 導(dǎo)致伊拉克的暴動進(jìn)一步升級， 它們比其他任何行動更有影響力。 而且，這些照片永久性地摧毀了 駐伊美軍的所謂道德高地。

　　Let's go back a little. In the 1960s and 1970s, the Vietnam War was basically shown in America's living rooms day in, day out. News photos brought people face to face with the victims of the war: a little girl burned by napalm, a student killed by the National Guard at Kent State University in Ohio during a protest. In fact, these images became the voices of protest themselves.

　　讓我們回顧歷史。 上世紀(jì)六七十年代， 越戰(zhàn)的畫面， 在電視上反復(fù)播放。 新聞圖片讓人們 直面戰(zhàn)爭的受害者，被汽油彈燒傷的小女孩， 一個在俄亥俄州的肯特州立大學(xué)參與抗議活動 被鎮(zhèn)壓部隊打死的學(xué)生。 實際上，這些照片 成為了最有力的抗議聲音。

　　Now, images have power to shed light of understanding on suspicion, ignorance, and in particular -- I've given a lot of talks on this but I'll just show one image -- the issue of HIV/AIDS. In the 1980s, the stigmatization of people with the disease was an enormous barrier to even discussing or addressing it. A simple act, in 1987, of the most famous woman in the world, the Princess of Wales, touching an HIV/AIDS infected baby did a great deal, especially in Europe, to stop that. She, better than most, knew the power of an image.

　　現(xiàn)在，照片有了 讓懷疑與無知 重見光明的力量。 尤其是關(guān)于艾滋病的議題 ——我做過很多這方面的'演講， 這次就只給大家看一張照片—— 上世紀(jì)八十年代，對這種疾病的各種流言蜚語 讓多數(shù)人 都不愿意討論或提起它。 1987年，世界上最著名的一個女人，作了一件簡單的事情， 戴安娜王妃， 撫摸了一個受艾滋病毒感染的嬰兒。 這個舉動消除了民眾對艾滋病的誤解，尤其在歐洲。 她比多數(shù)人更清楚圖片的力量。

　　So when we are confronted by a powerful image, we all have a choice: We can look away, or we can address the image. Thankfully, when these photos appeared in The Guardian in 1998, they put a lot of focus and attention and, in the end, a lot of money towards the Sudan famine relief efforts. Did the images change the world? No, but they had a major impact. Images often push us to question our core beliefs and our responsibilities to each other. We all saw those images after Katrina, and I think for millions of people they had a very strong impact. And I think it's very unlikely that they were far from the minds of Americans when they went to vote in November 2008.

　　當(dāng)我們面對一張有影響力的照片時， 我們都可以選擇。 我們可以看向別處，或者，我們可以讓它為更多人所知。 值得慶幸地是， 當(dāng)這些圖片于1998年出現(xiàn)在英國《衛(wèi)報》的時候， 人們開始關(guān)注它，最后為蘇丹饑荒的災(zāi)民， 捐了很多錢。 圖片改變了世界嗎? 不，但他們產(chǎn)生了深遠(yuǎn)影響。 圖片常常讓我們質(zhì)疑自己的信念 還有我們對彼此的責(zé)任。 我們都看過卡特里納颶風(fēng)的圖片， 我想這些圖片對幾百萬人， 都產(chǎn)生了極大影響。 在2008大選的時候， 讓美國人不去想那些照片 是幾乎不可能的。

　　Unfortunately, some very important images are deemed too graphic or disturbing for us to see them. I'll show you one photo here, and it's a photo by Eugene Richards of an Iraq War veteran from an extraordinary piece of work, which has never been published, called War Is Personal. But images don't need to be graphic in order to remind us of the tragedy of war. John Moore set up this photo at Arlington Cemetery. After all the tense moments of conflict in all the conflict zones of the world, there's one photograph from a much quieter place that haunts me still, much more than the others.

　　很遺憾的是，一些很重要的相片 因為太“真實”而不能公開。 這里有一張。 這是尤金·理查茲(Eugene Richards) 為一位伊戰(zhàn)退伍老兵拍的。 這個非同尋常的作品從來沒有發(fā)表，它叫做“戰(zhàn)爭是每個人的”。 讓我們想起戰(zhàn)爭殘酷性的照片， 不一定都要如此“真實”。 約翰·摩爾(John Moore)在亞靈頓公墓拍了這張照片。 在世界上那么多沖突地區(qū) 發(fā)生了那么多緊張的沖突，暴動之后 這張來自世界上最安靜角落的圖片， 才是讓我感到最不安的。

　　Ansel Adams said, and I'm going to disagree with him, "You don't take a photograph, you make it." In my view, it's not the photographer who makes the photo, it's you. We bring to each image our own values, our own belief systems, and as a result of that, the image resonates with us. My company has 70 million images. I have one image in my office. Here it is. I hope that the next time you see an image that sparks something in you, you'll better understand why, and I know that speaking to this audience, you'll definitely do something about it.

　　安塞爾·亞當(dāng)斯(Ansel Adams)說(但我不同意他的看法)， “人們從不拍照片，他們創(chuàng)作。” 在我看來，創(chuàng)作的不是攝影師， 而是你們。 我們把賦予每一張照片， 我們自己的價值觀，自己的信念， 這樣，我們和圖片產(chǎn)生了共鳴。 我的公司擁有七千萬照片， 我的辦公室有一張。 就是它。 我希望下次你們看到一張 讓你們產(chǎn)生靈感火花的照片時， 最好想想為什么。 我很清楚，我面前的這些聽眾， 你們肯定都會做些什么的。

　　And thank you to all the photographers.

　　感謝所有的攝影師。