[转帖] Michael Kramber：给年轻摄影师的忠告（完整版）
Michael Kramber结合了自己过去20年的从业经验，从如何选择摄影器材，如何找到特约拍摄的机会和如何推销自己和自己的作品这几方面给了年轻摄影师很多忠肯的建议，我读完后受益非浅，所以决定翻译完推荐给大家，(特别感谢Tina的帮助）。
以下的文章将以中英文对照的形式出现，中文仅供参考。也许阅读原文可以让你领悟更多作者想要表达的东西。
《给年轻摄影师的忠告》
10 June, 07
I am writing this from theBaghdadbureau of The New York Times where I am on assignment.
写下这些文字的时候，我正在《纽约时报》位于巴格达的办公室，帮该报纸做一个特约拍摄。
I have received dozens of queries from photojournalists starting out in the business. I am writing this in response, partly so I can refer others to it in the future and not spend time on lengthy replies.
我收到过若干来自刚刚进入新闻摄影领域的摄影师邮件，他们提出了很多的问题。为了给大家回答，我特此写下以下的这些文字。这些内容可能会对后来者也有所帮助，这样我就不用针对每一个问题来写长篇累牍的答案。
Some beginners ask for advice on gear, others on how to get started finding assignments and selling their work. I will describe my own path into photojournalism here and give some general advice that may be useful.
有些新手会问到关于器材的问题，有些人的问题是关于如何找到特约拍摄的机会，有些人的问题是如何推广他们的个人作品。关于所有这些问题，我将在本文中以我的个人经历为例，并结合一些通用的建议，来一一作答。
This is not definitive in any way. It is simply my experience and opinion formulated from twenty years experience as a photojournalist. No doubt others can weigh in and improve this with their comments and ideas.
在此特地说明，我所说的这些都是我个人的理解，并不是给摄影有关的任何东西来进行定义。简单来说，这是来自于我过去20多年工作经历中形成的个人的见解和想法。毫无疑问，其它人可以在后面的留言里发表自己的观点和看法。
I started as a photojournalist by going to art school. I thought I would be a fine art or landscape photographer, but I took a photojournalism course and was quickly hooked. When my money ran out after a year, I dropped out of school, but continued to work as a teaching assistant for photojournalism classes. I may have learned more in this way than I did as a student. I received no credit, but photography is a meritocracy. In over 20 years, I have never been asked for my degree; in the world of photojournalism,your portfolio is your degree.
我的摄影生涯是从进入艺术学校开始的。最开始，我觉得自己会成为艺术摄影师或风光摄影师。但是，当我开始接触了一点新闻摄影课程之后，我很快对新闻摄影着了迷。但是，在一年之后，我用光了所有的钱。那么，我就中断了新闻摄影的大学正规教育，但是继续作为一名助教为新闻摄影课程工作。这份助教的工作，对于我来说，学到的东西远远比作为一名学生学到的还要多。当然，我没有学生才会有的学分，没有学位，但是在我看来，摄影是看才能而不是学位的行业。在我20多年的从业经验里，从来没有人问我要过我的学位证书。在新闻摄影领域，你的作品集就是最好的学位证书。
I also learned a great deal from spending days in the library, reading about photojournalism and looking up, and discovering, each new name that I chanced upon. In this way I found Robert Capa, Robert Frank, Larry Clark, Alex Webb and dozens of others.
除了助教的日子，图书馆也是一个让我受益颇多的地方。我看了大量关于新闻摄影的书籍，看书，发现和思考。在图书馆里面，我看了很多大师的作品，罗伯特·卡帕，罗伯特·弗兰克，拉里·克拉克，阿里克斯·韦伯，以及其他若干摄影师的作品。
If you are going to be a photojournalist,you should have a good working knowledge of the history of photojournalism,and of the medium’s iconic images. You can show me nearly any often published photograph from the 20th century and I can tell you who took it and where.I’ve studied the pictures carefully and memorized details about them.This is extremely useful and will help you later as you shoot.
如果你想成为一名新闻摄影记者，你应该掌握扎实的新闻摄影史知识。你可以随意拿起20世纪出版频率较高的照片来问我，我可以很轻松地告诉你照片的作者和拍摄地点。对于这些经典的作品，我都仔细看过，研究过，甚至能记住很多画面的细节。看起来似乎是一个简单的事情，但是这对于日后你自己的拍摄会有非常大的帮助，这种学习过程中的影响是潜移默化的。
As you study images, you should think about where the photographer is in relation to the subjects, study how he or she has managed the light and the angle of the camera. Is the photo effective because it is compressed with a telephoto, or opened up with a wide-angle lens? And how did they get access, how will you gain access to a similar situation?
当你看一张照片的时候，你需要学会思考：摄影师同被摄对象的关系是怎样的？摄影师处于什么位置？摄影师是如何处理光线和拍摄角度的？这张照片精彩是因为使用了长焦镜头，还是因为使用了广角镜头？他们是如何能进入到这种环境的，如果是你自己，你该如何进入到类似的情境中呢？
I believe that the written word, still photos and film are connected.Artists in the above disciplines are telling stories, whatever the medium. It is important for those in one area to study the work of documentaries and artists in the others. At the bottom of this page is a list of recommended writers, photographers and filmmakers—all personal favorites.
我相信文字，图片和电影是相互关联的。无论是文字作家，摄影师，还是电影导演，所有这些人在干的一件事情简单来说就是讲故事，这与使用什么介质没有关系。认识到这一点，对于从不同领域学习的人来说尤其重要，无论是纪实还是艺术，在本质上都一样。在本文的最后，我列出了一些文字作家，摄影师以及电影制作人的名单，这些都是我个人比较喜欢的。
To be a photojournalist,you should be informed.I’m was appalled at a group of photographers who showed up in Haiti a few years ago, but did not know who the Duvalier’s were, or know even the most rudimentary history of the country. These countries are not there for you to practice photo-tourism and have an extended holiday. These are people’s lives you are documenting.Be knowledgeable and show respect.
成为一名新闻摄影师，你需要博学。前些年，我在海地拍摄，遇到一些摄影师，他们甚至不知道杜瓦利埃（Duvalier）家族，对海地基本的历史也知之甚少。作为新闻摄影师，像海地这样的国家并不是你练习摄影技巧的地方，也不是悠哉休假的地方。身处那样的环境，你需要做的是记录人们的生活状态，对当地的情况更多地了解，表示你的尊重。
At the very least,you should read the front page or lead web stories each dayfrom either the Washington Post,LA Timesor NY Times. The New Yorker has the best long-form. journalism in the English language. I read it every week.
如果你做不到大量阅读，那么最起码，你可以去看看华盛顿邮报，洛杉矶时报，或者纽约时报等这些大报纸的头版头条，或者这些报纸网站首页的重要新闻。纽约客杂志可以说有着世界上最好的新闻文字报道，我每周都坚持阅读。
A second language is probably the most important skill you can acquire—far more important that the latest camera gear or a diploma from a photo school.It takes time, but you should speak at least basic French or Spanish in addition to English. Arabic, or a language spoken inChina, would be an excellent choice also, especially as I write this in 2007.
除此之外，一门二外也是必要的。会一门第二外语，对于新闻摄影师来说，可能比拥有最先进的器材，或者拿到一个摄影的学位更加重要。掌握一门语言需要时间。但是，除了英语之外，你至少要会说最基本的法语或者西班牙语。在2007年写下这篇文章，我或许还应该推荐学习阿拉伯语或者中文。
I began my “career” by photographing street demonstrations inNew Yorkand taking the pictures around to newspapers and wire services.There was easy access to what was happening, which is important when you’re starting out. And even the pictures I was not able to sell helped me to build a portfolio. I also began, almost immediately, to work on long-term projects.
我的“职业拍摄”开始于纽约的街头扫街，那个时候，我拍摄一些照片，提供给报纸或者通讯社使用。街头拍摄，是最容易的，不需要特别的许可或者证件。这对于刚开始新闻摄影生涯的人来说，这种所谓的“扫街”也是很重要的。即使有些照片没有被采用，也帮我丰富了个人的作品集。也几乎是同时，我也开始拍摄一些中长期的项目。
I cannot overstate the importance of long-term projects.Rather than run around taking hundreds of pictures of dozens of subjects, it is much better to spend a few weeks or a month with a family, or a group of people and get to know them.Your pictures will reveal your commitment as subjects become comfortable with you. Choose your projects carefully. There are hundreds of important projects out there waiting to be discovered and photographed. Photo editors know the commitment behind this kind of in-depth work, and they respect it.A good photo-essay on one project will be remembered and will help to get you assignments.
我不能过于夸大长期拍摄项目的重要性。与其跑来跑去来拍摄若干不同的对象和题材，倒不如花几个星期或者一个月的时间同某个家庭，或者某个群体呆在一起，尝试去了解他们。当他们开始跟你熟悉起来，开始适应你的存在的时候，那么你的付出就在画面中体现出来了。对于长期的项目，你需要特别谨慎地去选择题材。在我们的生活中，有着成千上万的拍摄对象和题材可供选择。图片编辑们知道这种长期拍摄项目背后摄影师的付出，他们会尊重摄影师的成果。如果有一个好的摄影说明文档，会更容易帮你赢得特约拍摄的机会。
You are going to have to promote yourself and your work. If you’re afraid of rejection, find another line of work.You have to take your work around, or send it out to editors constantly.Most will turn you away. That’s the nature of the business. Get used to it and don’t take it personally. I was crushed in 1985 when Fred McDarrah, an editor at The Village Voice, spent 30 seconds flip ping through a portfolio I had spent months creating, then dismissed me with a flip of his hand.It took me a long time to get my courage up again, but I eventually did “break in” to The Village Voice, then a major photo publication.
你也要学会“推销”自己和自己的作品。如果你恐惧被拒绝，那么就不要干这一行了。你需要带着你的作品到不同的地方，见不同的人，并坚持发送给媒体的编辑们。大多数情况下，你可能会被拒绝。这没什么，这是这个行业的正常情况。学会习惯，不要总在心里认为这是针对你个人的。在1985年，我花了几个月拍摄了一个故事，当时The Village Voice的编辑就花了30秒的时间看了一下，然后就轻易地把我拒绝了。当时对我的打击也很大，我花了很长时间才再次有勇气继续。我在这里说这个事情，并不是说为了指责这个杂志。我只是想说，在最开始的时候，被拒绝不是什么大不了的事情。
Soyou must be persistent.And remember that editors are extremely busy. Expect them to take a few minutes to see your work, not more.They don’t need to see hundreds of photos on many subjects. Show them 20 or 25 photos they will remember and you’ll be much better off.
所以，你必须学会持之以恒。同时，也要记住一点，就是媒体的编辑们也是非常非常忙碌的。所以，他们能给你的也就是几分钟时间，别期望值太高。他们没有时间，也不需要看若干不同拍摄题材的数百张照片。那么，精选20-25张图片，然后展示给他们，这样他们反倒更加容易记住你的作品。
Notes on equipment:
关于器材的建议：
There is no magic camera that will make you take great pictures.Use what works for you.Develop a system that is reliable and that you are comfortable with. Never, under any circumstances, go on a major assignment with brand new equipment that you have not used.I don’t care if it is the latest and greatest. Often there will be glitches and growing pains, you don’t want these when you’re under the gun.
相机就是相机，这个世界上不存在可以保证你拍出精彩照片的相机。那么，选择适合自己的相机就可以了。选择一个自己喜欢并可靠的相机就足够了。但是，千万记住一点，就是不要带着崭新的，你从未使用过的新机器来完成特约拍摄。我无所谓它是否是最新的相机，还是配置最高端的相机，对于我来说，熟练使用的才是最佳的。对于从来没使用过的新相机，总是会出一些小问题，那么当这个时候，你可能就会体验到它带给你的痛苦了。
For two decades I used primarily Leica rangefinders. I’m now doing a lot of work with Canon digital EOS models, mostly a 5D and a 24-70 zoom lens. InAfrica, where I’m based, I always have a Hasselblad for portraits and usually a Leica as well. I still believe in film but have to acknowledge that for a newspaper photographer, it is impractical at best.
在过去的20年里，我主要使用莱卡相机。最近几年，我也开始使用佳能数码EOS系列拍摄很多作品，我主要使用佳能5D和一支24-70MM的镜头。在非洲，我拍摄肖像的时候，我通常使用哈苏或者是莱卡。我个人来说，是胶片的簇拥。但是，我必须承认，如果是为报纸工作的摄影师，数码相机还是最实用的。
I’m a bit of a “techie,” I carry a lot of gear when doing long assignments and am always experimenting with some new piece that will give me an edge. I know photographers far better than me that walk around with one battered body and a single lens and do great work. I hate flash and avoid it at all cost. Other photographers who I admire shoot with flash all the time. There is no right way to do it. I would say that a low light lens, preferably a wide-angle f1.4, or at least an f2, is a good investment. I shoot at night frequently, and here inBaghdadI am out with soldiers on night raids inside homes—flash are out of the question.
我在一定程度上来说是器材“发烧友”，在拍摄一个长期项目的时候，我总是会带上若干的器材。我也总是喜欢尝试一些新鲜玩意儿，让我找到新的突破点。我也认识很多比我优秀得多的摄影师，他们往往就带着一个相机，一个镜头，也能拍摄出非常优秀的作品。我不喜欢闪光灯，我也尽量避免使用闪光灯。也有我很喜欢的摄影师，他们愿意使用闪光灯来拍摄。其实，这无所谓对错。但是，我个人觉得投资一个光圈f1.4或者f2的广角镜头还是非常必要的。就我个人来说，我经常需要在夜间进行拍摄。比如我这次在巴格达，我需要跟士兵在晚上一起出去，那么使用闪光灯几乎是不可能的事情。
There are exceptions to what I wrote above: in a combat situation, I do not carry a lot of gear. Usually one camera and one lens.Under fire is not a time to be fumbling with gear. Shoot what you can with what you have.
虽然我喜欢带很多器材上阵，但是也有例外。比如，在战场上，我通常不会带太多的器材，一般来说也就是一个相机和一个镜头。在枪口下，不是倒腾你那些器材的时候。能利用手头仅有的器材进行拍摄，就是不错的情形了。
Some of my recommended materials:
以下是我推荐的一些资料：
Photo books:
Eugene Richards, Cocaine True,
Luc Delahaye, WinterRiesse
Robert Frank, The Americans
Gilles Peress, Telex Iran
Mary Ellen Mark, anything by her.
William Klein, anything you can find.
Movies:
HarlanCounty,USA, a documentary movie by Barbara Koppel
My American Girls, a documentary video about a Dominican family
Anything by the Maysle brothers.
Anything by D.A. Pennebaker.
Journalism:
Joseph Mitchell, Up in the Old Hotel,
Joan Didion, anything she’s ever done.
Michael Herr, Dispatches,
Guy Trebay, In The Place to Be,
William Finnegan, Cold New World,
Anything by Charlie Leduff or Barry Bearak in the New York Times.
George Orwell, anything he’s ever written; Down and Out inParisandLondon, and Homage toCatalonia, are particularly good.
以下的文章将以中英文对照的形式出现，中文仅供参考。也许阅读原文可以让你领悟更多作者想要表达的东西。
《给年轻摄影师的忠告》
10 June, 07
I am writing this from theBaghdadbureau of The New York Times where I am on assignment.
写下这些文字的时候，我正在《纽约时报》位于巴格达的办公室，帮该报纸做一个特约拍摄。
I have received dozens of queries from photojournalists starting out in the business. I am writing this in response, partly so I can refer others to it in the future and not spend time on lengthy replies.
我收到过若干来自刚刚进入新闻摄影领域的摄影师邮件，他们提出了很多的问题。为了给大家回答，我特此写下以下的这些文字。这些内容可能会对后来者也有所帮助，这样我就不用针对每一个问题来写长篇累牍的答案。
Some beginners ask for advice on gear, others on how to get started finding assignments and selling their work. I will describe my own path into photojournalism here and give some general advice that may be useful.
有些新手会问到关于器材的问题，有些人的问题是关于如何找到特约拍摄的机会，有些人的问题是如何推广他们的个人作品。关于所有这些问题，我将在本文中以我的个人经历为例，并结合一些通用的建议，来一一作答。
This is not definitive in any way. It is simply my experience and opinion formulated from twenty years experience as a photojournalist. No doubt others can weigh in and improve this with their comments and ideas.
在此特地说明，我所说的这些都是我个人的理解，并不是给摄影有关的任何东西来进行定义。简单来说，这是来自于我过去20多年工作经历中形成的个人的见解和想法。毫无疑问，其它人可以在后面的留言里发表自己的观点和看法。
I started as a photojournalist by going to art school. I thought I would be a fine art or landscape photographer, but I took a photojournalism course and was quickly hooked. When my money ran out after a year, I dropped out of school, but continued to work as a teaching assistant for photojournalism classes. I may have learned more in this way than I did as a student. I received no credit, but photography is a meritocracy. In over 20 years, I have never been asked for my degree; in the world of photojournalism,your portfolio is your degree.
我的摄影生涯是从进入艺术学校开始的。最开始，我觉得自己会成为艺术摄影师或风光摄影师。但是，当我开始接触了一点新闻摄影课程之后，我很快对新闻摄影着了迷。但是，在一年之后，我用光了所有的钱。那么，我就中断了新闻摄影的大学正规教育，但是继续作为一名助教为新闻摄影课程工作。这份助教的工作，对于我来说，学到的东西远远比作为一名学生学到的还要多。当然，我没有学生才会有的学分，没有学位，但是在我看来，摄影是看才能而不是学位的行业。在我20多年的从业经验里，从来没有人问我要过我的学位证书。在新闻摄影领域，你的作品集就是最好的学位证书。
I also learned a great deal from spending days in the library, reading about photojournalism and looking up, and discovering, each new name that I chanced upon. In this way I found Robert Capa, Robert Frank, Larry Clark, Alex Webb and dozens of others.
除了助教的日子，图书馆也是一个让我受益颇多的地方。我看了大量关于新闻摄影的书籍，看书，发现和思考。在图书馆里面，我看了很多大师的作品，罗伯特·卡帕，罗伯特·弗兰克，拉里·克拉克，阿里克斯·韦伯，以及其他若干摄影师的作品。
If you are going to be a photojournalist,you should have a good working knowledge of the history of photojournalism,and of the medium’s iconic images. You can show me nearly any often published photograph from the 20th century and I can tell you who took it and where.I’ve studied the pictures carefully and memorized details about them.This is extremely useful and will help you later as you shoot.
如果你想成为一名新闻摄影记者，你应该掌握扎实的新闻摄影史知识。你可以随意拿起20世纪出版频率较高的照片来问我，我可以很轻松地告诉你照片的作者和拍摄地点。对于这些经典的作品，我都仔细看过，研究过，甚至能记住很多画面的细节。看起来似乎是一个简单的事情，但是这对于日后你自己的拍摄会有非常大的帮助，这种学习过程中的影响是潜移默化的。
As you study images, you should think about where the photographer is in relation to the subjects, study how he or she has managed the light and the angle of the camera. Is the photo effective because it is compressed with a telephoto, or opened up with a wide-angle lens? And how did they get access, how will you gain access to a similar situation?
当你看一张照片的时候，你需要学会思考：摄影师同被摄对象的关系是怎样的？摄影师处于什么位置？摄影师是如何处理光线和拍摄角度的？这张照片精彩是因为使用了长焦镜头，还是因为使用了广角镜头？他们是如何能进入到这种环境的，如果是你自己，你该如何进入到类似的情境中呢？
I believe that the written word, still photos and film are connected.Artists in the above disciplines are telling stories, whatever the medium. It is important for those in one area to study the work of documentaries and artists in the others. At the bottom of this page is a list of recommended writers, photographers and filmmakers—all personal favorites.
我相信文字，图片和电影是相互关联的。无论是文字作家，摄影师，还是电影导演，所有这些人在干的一件事情简单来说就是讲故事，这与使用什么介质没有关系。认识到这一点，对于从不同领域学习的人来说尤其重要，无论是纪实还是艺术，在本质上都一样。在本文的最后，我列出了一些文字作家，摄影师以及电影制作人的名单，这些都是我个人比较喜欢的。
To be a photojournalist,you should be informed.I’m was appalled at a group of photographers who showed up in Haiti a few years ago, but did not know who the Duvalier’s were, or know even the most rudimentary history of the country. These countries are not there for you to practice photo-tourism and have an extended holiday. These are people’s lives you are documenting.Be knowledgeable and show respect.
成为一名新闻摄影师，你需要博学。前些年，我在海地拍摄，遇到一些摄影师，他们甚至不知道杜瓦利埃（Duvalier）家族，对海地基本的历史也知之甚少。作为新闻摄影师，像海地这样的国家并不是你练习摄影技巧的地方，也不是悠哉休假的地方。身处那样的环境，你需要做的是记录人们的生活状态，对当地的情况更多地了解，表示你的尊重。
At the very least,you should read the front page or lead web stories each dayfrom either the Washington Post,LA Timesor NY Times. The New Yorker has the best long-form. journalism in the English language. I read it every week.
如果你做不到大量阅读，那么最起码，你可以去看看华盛顿邮报，洛杉矶时报，或者纽约时报等这些大报纸的头版头条，或者这些报纸网站首页的重要新闻。纽约客杂志可以说有着世界上最好的新闻文字报道，我每周都坚持阅读。
A second language is probably the most important skill you can acquire—far more important that the latest camera gear or a diploma from a photo school.It takes time, but you should speak at least basic French or Spanish in addition to English. Arabic, or a language spoken inChina, would be an excellent choice also, especially as I write this in 2007.
除此之外，一门二外也是必要的。会一门第二外语，对于新闻摄影师来说，可能比拥有最先进的器材，或者拿到一个摄影的学位更加重要。掌握一门语言需要时间。但是，除了英语之外，你至少要会说最基本的法语或者西班牙语。在2007年写下这篇文章，我或许还应该推荐学习阿拉伯语或者中文。
I began my “career” by photographing street demonstrations inNew Yorkand taking the pictures around to newspapers and wire services.There was easy access to what was happening, which is important when you’re starting out. And even the pictures I was not able to sell helped me to build a portfolio. I also began, almost immediately, to work on long-term projects.
我的“职业拍摄”开始于纽约的街头扫街，那个时候，我拍摄一些照片，提供给报纸或者通讯社使用。街头拍摄，是最容易的，不需要特别的许可或者证件。这对于刚开始新闻摄影生涯的人来说，这种所谓的“扫街”也是很重要的。即使有些照片没有被采用，也帮我丰富了个人的作品集。也几乎是同时，我也开始拍摄一些中长期的项目。
I cannot overstate the importance of long-term projects.Rather than run around taking hundreds of pictures of dozens of subjects, it is much better to spend a few weeks or a month with a family, or a group of people and get to know them.Your pictures will reveal your commitment as subjects become comfortable with you. Choose your projects carefully. There are hundreds of important projects out there waiting to be discovered and photographed. Photo editors know the commitment behind this kind of in-depth work, and they respect it.A good photo-essay on one project will be remembered and will help to get you assignments.
我不能过于夸大长期拍摄项目的重要性。与其跑来跑去来拍摄若干不同的对象和题材，倒不如花几个星期或者一个月的时间同某个家庭，或者某个群体呆在一起，尝试去了解他们。当他们开始跟你熟悉起来，开始适应你的存在的时候，那么你的付出就在画面中体现出来了。对于长期的项目，你需要特别谨慎地去选择题材。在我们的生活中，有着成千上万的拍摄对象和题材可供选择。图片编辑们知道这种长期拍摄项目背后摄影师的付出，他们会尊重摄影师的成果。如果有一个好的摄影说明文档，会更容易帮你赢得特约拍摄的机会。
You are going to have to promote yourself and your work. If you’re afraid of rejection, find another line of work.You have to take your work around, or send it out to editors constantly.Most will turn you away. That’s the nature of the business. Get used to it and don’t take it personally. I was crushed in 1985 when Fred McDarrah, an editor at The Village Voice, spent 30 seconds flip ping through a portfolio I had spent months creating, then dismissed me with a flip of his hand.It took me a long time to get my courage up again, but I eventually did “break in” to The Village Voice, then a major photo publication.
你也要学会“推销”自己和自己的作品。如果你恐惧被拒绝，那么就不要干这一行了。你需要带着你的作品到不同的地方，见不同的人，并坚持发送给媒体的编辑们。大多数情况下，你可能会被拒绝。这没什么，这是这个行业的正常情况。学会习惯，不要总在心里认为这是针对你个人的。在1985年，我花了几个月拍摄了一个故事，当时The Village Voice的编辑就花了30秒的时间看了一下，然后就轻易地把我拒绝了。当时对我的打击也很大，我花了很长时间才再次有勇气继续。我在这里说这个事情，并不是说为了指责这个杂志。我只是想说，在最开始的时候，被拒绝不是什么大不了的事情。
Soyou must be persistent.And remember that editors are extremely busy. Expect them to take a few minutes to see your work, not more.They don’t need to see hundreds of photos on many subjects. Show them 20 or 25 photos they will remember and you’ll be much better off.
所以，你必须学会持之以恒。同时，也要记住一点，就是媒体的编辑们也是非常非常忙碌的。所以，他们能给你的也就是几分钟时间，别期望值太高。他们没有时间，也不需要看若干不同拍摄题材的数百张照片。那么，精选20-25张图片，然后展示给他们，这样他们反倒更加容易记住你的作品。
Notes on equipment:
关于器材的建议：
There is no magic camera that will make you take great pictures.Use what works for you.Develop a system that is reliable and that you are comfortable with. Never, under any circumstances, go on a major assignment with brand new equipment that you have not used.I don’t care if it is the latest and greatest. Often there will be glitches and growing pains, you don’t want these when you’re under the gun.
相机就是相机，这个世界上不存在可以保证你拍出精彩照片的相机。那么，选择适合自己的相机就可以了。选择一个自己喜欢并可靠的相机就足够了。但是，千万记住一点，就是不要带着崭新的，你从未使用过的新机器来完成特约拍摄。我无所谓它是否是最新的相机，还是配置最高端的相机，对于我来说，熟练使用的才是最佳的。对于从来没使用过的新相机，总是会出一些小问题，那么当这个时候，你可能就会体验到它带给你的痛苦了。
For two decades I used primarily Leica rangefinders. I’m now doing a lot of work with Canon digital EOS models, mostly a 5D and a 24-70 zoom lens. InAfrica, where I’m based, I always have a Hasselblad for portraits and usually a Leica as well. I still believe in film but have to acknowledge that for a newspaper photographer, it is impractical at best.
在过去的20年里，我主要使用莱卡相机。最近几年，我也开始使用佳能数码EOS系列拍摄很多作品，我主要使用佳能5D和一支24-70MM的镜头。在非洲，我拍摄肖像的时候，我通常使用哈苏或者是莱卡。我个人来说，是胶片的簇拥。但是，我必须承认，如果是为报纸工作的摄影师，数码相机还是最实用的。
I’m a bit of a “techie,” I carry a lot of gear when doing long assignments and am always experimenting with some new piece that will give me an edge. I know photographers far better than me that walk around with one battered body and a single lens and do great work. I hate flash and avoid it at all cost. Other photographers who I admire shoot with flash all the time. There is no right way to do it. I would say that a low light lens, preferably a wide-angle f1.4, or at least an f2, is a good investment. I shoot at night frequently, and here inBaghdadI am out with soldiers on night raids inside homes—flash are out of the question.
我在一定程度上来说是器材“发烧友”，在拍摄一个长期项目的时候，我总是会带上若干的器材。我也总是喜欢尝试一些新鲜玩意儿，让我找到新的突破点。我也认识很多比我优秀得多的摄影师，他们往往就带着一个相机，一个镜头，也能拍摄出非常优秀的作品。我不喜欢闪光灯，我也尽量避免使用闪光灯。也有我很喜欢的摄影师，他们愿意使用闪光灯来拍摄。其实，这无所谓对错。但是，我个人觉得投资一个光圈f1.4或者f2的广角镜头还是非常必要的。就我个人来说，我经常需要在夜间进行拍摄。比如我这次在巴格达，我需要跟士兵在晚上一起出去，那么使用闪光灯几乎是不可能的事情。
There are exceptions to what I wrote above: in a combat situation, I do not carry a lot of gear. Usually one camera and one lens.Under fire is not a time to be fumbling with gear. Shoot what you can with what you have.
虽然我喜欢带很多器材上阵，但是也有例外。比如，在战场上，我通常不会带太多的器材，一般来说也就是一个相机和一个镜头。在枪口下，不是倒腾你那些器材的时候。能利用手头仅有的器材进行拍摄，就是不错的情形了。
Some of my recommended materials:
以下是我推荐的一些资料：
Photo books:
Eugene Richards, Cocaine True,
Luc Delahaye, WinterRiesse
Robert Frank, The Americans
Gilles Peress, Telex Iran
Mary Ellen Mark, anything by her.
William Klein, anything you can find.
Movies:
HarlanCounty,USA, a documentary movie by Barbara Koppel
My American Girls, a documentary video about a Dominican family
Anything by the Maysle brothers.
Anything by D.A. Pennebaker.
Journalism:
Joseph Mitchell, Up in the Old Hotel,
Joan Didion, anything she’s ever done.
Michael Herr, Dispatches,
Guy Trebay, In The Place to Be,
William Finnegan, Cold New World,
Anything by Charlie Leduff or Barry Bearak in the New York Times.
George Orwell, anything he’s ever written; Down and Out inParisandLondon, and Homage toCatalonia, are particularly good.
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妇女们坐在Kalma 的IDP营地外，沐浴在日落的光辉中。2006，苏丹 |
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一名乍得妇女从她自己在干涸的河床上所打的洞里面取水，在遭受了来自穿越苏丹边境的金戈威德（ja |
