照片不僅僅是人類某一時刻的影像記載，有時也在向世人傳達(dá)重大信息的同時改變著整個世界，這就是照片的力量。
Photography can take us places, we’ve never been before, perhaps never dreamed of. There are some photographs that will make you stop and think. These 10 photographs stopped the world and people hold their breaths for a few seconds to take it all in.
照片可以帶我們?nèi)ズ芏嗟胤剑赡苁俏覀冎皬臎]去過的地方，也許是連做夢都沒想到的地方。有一些照片會讓你停下來想一想。下面這10張照片則讓整個世界停了下來，所有人在數(shù)秒之內(nèi)都為之屏住呼吸、領(lǐng)會其奧妙。1
The Photograph That Raised the Photojournalistic Stakes:
1. 一張增加了攝影報道風(fēng)險的照片
“Omaha Beach, Normandy, France” Robert Capa, 1944
“法國.諾曼底.奧哈馬海灘” —— 羅伯特·卡帕（Robert Capa），1944
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“If your pictures aren’t good enough,” war photographer Robert Capa used to say, “you aren’t close enough.” Words to die by, yes, but the man knew of what he spoke. After all, his most memorable shots were taken on the morning of D-Day, June 6, 1944, when he landed alongside the first waves of infantry at Omaha Beach.
“如果你的照片拍得不夠好，”戰(zhàn)地攝影記者羅伯特.卡帕曾經(jīng)說過，“那是因為離炮火不夠近。” 這話聽起來像找死（譯者注：卡帕于1954年在越南戰(zhàn)場拍攝時誤踩地雷而死，時年41歲），是的，但他明白自己在說什么。畢竟，他最難忘的鏡頭拍攝于諾曼底登陸日（1944年6月6日）的早晨，當(dāng)時他與第一批步兵一起在奧馬哈海灘登陸。
Caught under heavy fire, Capa dove for what little cover he could find, then shot all the film in his camera, and got out – just barely. He escaped with his life, but not much else. Of the four rolls of film Capa took of the horrific D-Day battle, all but 11 exposures were ruined by an overeager lab assistant, who melted the film in his rush to develop it. (He was trying to meet the deadline for the next issue of Life magazine.)
在猛烈炮火之下，卡帕潛到了一個他能找到的小掩體后面，然后他拍光了相機(jī)里的所有膠卷，艱難地離開了戰(zhàn)場。他保住了自己的命，但也僅此而已了。在可怕的諾曼底登陸戰(zhàn)中，卡帕拍了四卷膠卷，不過除了11張以外，其余的都被急躁的助手在匆匆忙忙沖洗膠卷的時候毀掉了。（他是為了趕下一期生活雜志的截稿時間）1
In an ironic twist, however, that same mistake gave the few surviving exposures their famously surreal look (”slightly out of focus,” Life incorrectly explained upon printing them). More than 50 years later, director Steven Spielberg would go to great lengths to reproduce the look of that “error” for his harrowing D-Day landing sequence in “Saving Private Ryan,” even stripping the coating from his camera lenses to echo Capa’s notorious shots.
不過具有諷刺意味的是，同樣的錯誤使得這些幸存的照片有了極好的超現(xiàn)實主義視覺效果（“稍微失焦”——生活雜志在出版時的錯誤解釋）。 50多年后，導(dǎo)演史蒂芬.斯皮爾伯格（Steven Spielberg ）在電影《拯救大兵瑞恩》中為了拍攝催人淚下的諾曼底登陸行動，竭盡全力地重現(xiàn)該“錯誤”，甚至去掉攝像機(jī)鏡頭的防水蓋以達(dá)到卡帕那種“糟糕”的鏡頭效果。
The Photograph That Gave a Face to the Great Depression
“Migrant Mother” Dorothea Lange, 1936
“遷徙中的母親”——多羅西亞·蘭格（Dorothea Lange），19361
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As era-defining photographs go, “Migrant Mother” pretty much takes the cake. For many, Florence Owens Thompson is the face of the Great Depression, thanks to legendary educated and apprenticed photojournalist Dorothea Lange. Lange captured the image while visiting a dusty California pea-pickers’ camp in February 1936, and in doing so, captured the resilience of a proud nation facing desperate times.
就代表了一個時代的照片而言，“遷徙中的母親” 無出其右。對于許多人來說，佛羅倫薩.歐文斯.湯普森這張臉很好地反映了大蕭條時代，多謝傳奇的剛接受培訓(xùn)的實習(xí)攝影記者多蘿西婭.蘭格。蘭格在1936年2月訪問美國加州一個塵土飛揚的豌豆采摘營地時抓拍了這張照片，她這樣做，同時也抓拍下了一個自豪的民族面臨危急時刻的應(yīng)變能力。
Unbelievably, Thompson’s story is as compelling as her portrait. Just 32 years old when Lange approached her (”as if drawn by a magnet,” Lange said). Thompson was a mother of seven who’d lost her husband to tuberculosis. Stranded at a migratory labor farm in Nipomo, Calif. her family sustained themselves on birds killed by her kids and vegetables taken from a nearby field – as meager a living as any earned by the other 2,500 workers there. The photo’s impact was staggering. Reproduced in newspapers everywhere, Thompson’s haunted face triggered an immediate public outcry, quickly prompting politicos from the federal Resettlement Administration to send food and supplies. Sadly, however, Thompson and her family had already moved on, receiving nary a wedge of government cheese for their high-profile misery. In fact, no one knew the identity of the photographed woman until Thompson revealed herself years later in a 1976 newspaper article.
令人難以置信的是，湯普森的故事和她的肖像照一樣引人注目。當(dāng)年蘭格走近她時（“仿佛被磁鐵吸引”，蘭格說），她只有32歲。湯普森是七個孩子的母親，她的丈夫死于肺結(jié)核，當(dāng)時她滯留在加州尼波莫的一個遷徙勞工農(nóng)場（譯者注：這有一篇關(guān)于美國遷徙勞工的文章)。她的家庭靠孩子們打的鳥和從附近一片野地里挖的菜糊口度日——和那里其他2500名收入微薄的工人一樣。照片的影響力是驚人的。各地的報紙都在轉(zhuǎn)載，湯普森飽受折磨的臉立即引發(fā)輿論嘩然，迅速促使美國聯(lián)邦移民部門的政客們送去了食物和供給用品。然而可悲的是，湯普森和她的家人已經(jīng)離開了那里，在他們備受矚目的困境當(dāng)中，連一塊政府的奶酪也沒得到。事實上，當(dāng)時沒人知道這名婦女的身份，直到多年以后，湯普森才在1976年的一篇報紙上的文章中揭示了自己的身份。
The Photograph That Brought the Battlefield Home
“Federal Dead on the Field of Battle of First Day, Gettysburg, Pennsylvania” Mathew Brady, 1863
“第一天戰(zhàn)斗時戰(zhàn)場上的聯(lián)邦陣亡士兵，葛底斯堡，賓夕法尼亞州” —— 馬修·布雷迪（Mathew Brady），1863
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As one of the world’s first war photographers, Mathew Brady didn’t start out having as action-packed a career as you might think. A successful daguerreotypist and a distinguished gentleman, Brady was known for his portraits of notable people such as Abraham Lincoln and Robert E. Lee. In other words, he was hardly a photojournalist in the trenches.
作為世界上最早的戰(zhàn)地攝影師之一，馬修.布雷迪并不像你想象的那樣有著充滿驚心動魄的職業(yè)生涯。作為一個成功的銀版相機(jī)攝影師和一位杰出的紳士，布雷迪是以給名人拍照而聞名于世的，比如亞伯拉罕.林肯和羅伯特.李。換句話說，他不是那種呆在戰(zhàn)壕里的攝影師。
In fact, Brady had everything to lose by making a career move – his money, his business, and quite possibly his life. Nevertheless, he decided to risk it all and follow the Union Army into battle with his camera, saying, “A spirit in my feet said, ‘Go!’” And go he did – at least until he got a good look at the pointy end of a Confederate bayonet.
事實上，布雷迪為了事業(yè)的發(fā)展寧愿失去一切——他的錢、他的生意、可能還包括他的命。不論怎樣，他決定不顧一切風(fēng)險，帶著他的照相機(jī)跟隨聯(lián)邦軍隊進(jìn)入戰(zhàn)場，他說，“我腳中的精靈說，‘去吧！’”，然后他確實去了——至少等到了他看清了南方聯(lián)邦的刺刀尖兒之后。
After narrowly escaping capture at the first Battle of Bull Run, Brady’s chatty feet quieted down a bit, and he began sending assistants in his place. In the span of only a few years, Brady and his team shot more than 7,000 photographs – an astounding number when you consider that developing a single plate required a horse-drawn-wagon-full of cumbersome equipment and noxious chemicals. Not exactly what you’d call “point-and-shoot.”
在布爾淵的第一場戰(zhàn)役中布雷迪差點被捕，他那“健談的”腳安靜了一些，然后他開始派助手代替自己去。在僅有的短短數(shù)年間，布蘭迪和他的團(tuán)隊拍攝的照片超過了7000張——這是一個驚人的數(shù)字，你要知道，那時洗一張銀版照片需要一馬車的笨重設(shè)備和有毒化學(xué)品，不是你想的那種“對準(zhǔn)即拍”。
Tethered as he was to his equine-powered darkroom and with film speeds being much slower then, Brady produced war photos that are understandably light on the action and heavy on the aftermath. Still, they mark the first time Americans were so immediately confronted with the grim realities of the battlefield.
受到當(dāng)時條件的約束——暗室靠馬力來維持供電而且那時膠卷感光速度也慢得多，可以理解，布雷迪的戰(zhàn)爭照片是拍的時候容易、后期處理卻很難。盡管如此，它們標(biāo)志著美國人第一次能如此直接地面對戰(zhàn)場的真正殘酷。
The Photograph That Ended a War But Ruined a Life
“Murder of a Vietcong by Saigon Police Chief” Eddie Adams, 1968
“西貢警察局長槍殺一名越共分子” 艾迪·亞當(dāng)斯（Eddie Adams），1968
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“Still photographs are the most powerful weapon in the world,” AP photojournalist Eddie Adams once wrote. A fitting quote for Adams, because his 1968 photograph of an officer shooting a handcuffed prisoner in the head at point-blank range not only earned him a Pulitzer Prize in 1969, but also went a long way toward souring Americans’ attitudes about the Vietnam War.
“照片依然是世界上最強(qiáng)大的武器，”美聯(lián)社攝影記者艾迪·亞當(dāng)斯曾這樣寫道。這是亞當(dāng)斯一句極為恰當(dāng)?shù)拿?，因為他?968年拍攝的那張警官近距離地槍殺戴手銬犯人頭部的照片，不僅為他贏得了1969年的普利策獎，也激起了美國人反越戰(zhàn)的情緒。（譯者注：更詳細(xì)槍殺過程照片在此）
For all the image’s political impact, though, the situation wasn’t as black-and-white as it’s rendered. What Adams’ photograph doesn’t reveal is that the man being shot was the captain of a Vietcong “revenge squad” that had executed dozens of unarmed civilians earlier the same day. Regardless, it instantly became an icon of the war’s savagery and made the official pulling the trigger – General Nguyen Ngoc Loan – its iconic villain.
不過對于這張照片造成的全部政治影響而言，情況并不像照片本身那樣黑白分明。亞當(dāng)斯的照片并沒有揭露該名被槍殺的男子是一個越共“復(fù)仇隊”的頭目，就在同一天早些時候該頭目處死了數(shù)十名手無寸鐵的平民。不管怎樣，這張照片立即成為了戰(zhàn)爭殘忍的標(biāo)志，而且讓這位扣動扳機(jī)的警官—— 阮玉灣將軍——成了標(biāo)志性的惡棍。
Sadly, the photograph’s legacy would haunt Loan for the rest of his life. Following the war, he was reviled where ever he went. After an Australian VA hospital refused to treat him, he was transferred to the United States, where he was met with a massive (though unsuccessful) campaign to deport him. He eventually settled in Virginia and opened a restaurant but was forced to close it down as soon as his past caught up with him. Vandals scrawled “we know who you are” on his walls, and business dried up.
不幸的是，這張照片的影響如鬼魅般纏繞著阮的余生。戰(zhàn)后，他走到哪兒被罵到哪兒。在一所澳大利亞退伍軍人醫(yī)院拒絕醫(yī)治他之后，他被轉(zhuǎn)移到了美國，在那里他遭遇到了一個大規(guī)模的（雖然沒有成功）要將他驅(qū)逐出境的抗議活動。他最終定居在了弗吉尼亞州，開了一家飯館，但是很快由于他的過去陰影不散而被迫關(guān)閉。墻壁上潦草地寫著“我們知道你是誰”，生意也停頓了。
Adams felt so bad for Loan that he apologized for having taken the photo at all, admitting, “The general killed the Vietcong; I killed the general with my camera.”
亞當(dāng)斯對阮的遭遇感到抱歉，他為拍了這張照片向阮道歉：“將軍殺了越共分子，而我卻用相機(jī)殺了將軍。”
The Photograph That Isn’t as Romantic as You Might Think
“V-J Day, Times Square, 1945″, a.k.a. “The Kiss”Alfred Eisenstaedt, 1945
“太平洋戰(zhàn)爭勝利日，時代廣場，1945” 也可以叫做 “吻” —— 阿爾弗萊德·艾森斯塔特，1945
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On August 14, 1945, the news of Japan’s surrender was announced in the United States, signaling the end of World War II. Riotous celebrations erupted in the streets, but perhaps none were more relieved than those in uniform. Although many of them had recently returned from victory in Europe, they faced the prospect of having to ship out yet again, this time to the bloody Pacific.
1945年8月14日，日本投降的消息在美國宣布，標(biāo)志著第二次世界大戰(zhàn)的結(jié)束。街頭掀起了狂歡的慶典，但也許沒有人能比那些穿著制服的軍人、護(hù)士們更感到解脫。因為盡管他們中的許多人最近剛從歐洲戰(zhàn)場的勝利中凱旋，他們卻面臨著不得不再次出航的命運——這一次是駛向血腥的太平洋。
Among the overjoyed masses gathered in Times Square that day was one of the most talented photojournalists of the 20th century, a German immigrant named Alfred Eisenstaedt. While snapping pictures of the celebration, he spotted a sailor “running along the street grabbing any and every girl in sight.” He later explained that, “whether she was a grandmother, stout, thin, old, didn’t make any difference.”
當(dāng)天在時代廣場聚集的欣喜若狂的人群當(dāng)中，有一個名為阿爾弗萊德·艾森斯塔特的德國移民，他是20世紀(jì)最有才華的攝影記者之一。在拍攝慶祝照片的時候，他發(fā)現(xiàn)了一個水手“沿著街道奔跑，抓住每一個看到的女孩。”他后來解釋說，“不管她是一位老太太，胖的，瘦的，老的，都一樣。 “
Of course, a photo of the sailor planting a wet one on a senior citizen wouldn’t have made the cover of Life, but when he locked lips with an attractive nurse, the image was circulated in newspapers across the country. Needless to say, “V-J Day” didn’t capture a highly anticipated embrace by long-lost lovers, but it also wasn’t staged, as many critics have claimed. In any case, the image remains an enduring symbol of America’s exuberance at the end of a long struggle.
當(dāng)然，一張水手濕漉漉的手抓住一個老人的照片是不會作為生活雜志的封面的，但是當(dāng)他親吻一名漂亮的女護(hù)士時，這張照片就在全國各地的報紙上迅速傳開了。不用說，“太平洋戰(zhàn)爭勝利日”拍的并不是所期望的失散多年的戀人的擁抱，但它也不是像許多批評家說的那樣是刻意安排的。不論怎樣，這張照片依然是在長期斗爭結(jié)束時美國人熱情奔放的永久象征。
The Photograph That Destroyed an Industry
“Hindenburg” Murray Becker, 1937
“興登堡飛艇” —— 默里.貝克爾，1937
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Forget the Titanic, the Lusitania, and the comparatively unphotogenic accident at Chernobyl. Thanks to the power of images, the explosion of the Hindenburg on May 6, 1937, claims the dubious honor of being the quintessential disaster of the 20th century.
忘掉泰坦尼克號、路西塔尼亞號和切爾諾貝利那些沒有照片記錄的事故吧。多虧照片的力量，在1937年5月6日發(fā)生的興登堡飛艇爆炸事故被冠以20世紀(jì)典型災(zāi)難這一有爭議的稱號。
In the grand scheme of things, however, the Hindenburg wasn’t all that disastrous. Of the 97 people aboard, a surprising 62 survived. (in fact, it wasn’t even the worst Zeppelin crash of the 20th century. Just four years earlier, the U.S.S. Akron had crashed into the Atlantic killing more than twice as many people.) But when calculating the epic status of a catastrophe, terrifying photographs and quotable quotes (”Oh, the humanity!”) far outweigh body counts.
不過從整體上看，興登堡事故并不是災(zāi)難性的。在艇上的97人中，出人意料地有62人存活。 （事實上，它甚至不是20世紀(jì)最嚴(yán)重的齊柏林硬式飛艇（譯者注：第一次世界大戰(zhàn)中德國使用的大型飛艇）墜毀事故。就在四年之前，美國輪船阿克倫號在大西洋沉沒，遇難者人數(shù)比這兩倍還多。）但是在評估一個災(zāi)難的史詩地位時，恐怖的照片和著名的名言（“哦，人類！”）的權(quán)重遠(yuǎn)遠(yuǎn)超過了遇難者人數(shù)。
Assembled as part of a massive PR campaign by the Hindenburg’s parent company in Germany, no fewer than 22 photographers, reporters, and newsreel cameramen were on the scene in Lakehurst, N.J. when the airship went down. Worldwide publicity of the well-documented disaster shattered the public’s faith in Zeppelins, which were, at the time, considered the safest mode of air travel available.
作為興登堡號在德國總公司的一個龐大商業(yè)活動的一部分，至少有22位攝影師、記者和紀(jì)錄片攝影師被召集在新澤西州的萊克赫斯特現(xiàn)場，不料卻發(fā)生了飛艇墜毀事故。全世界都見證了這一完整記錄下來的災(zāi)難，粉碎了公眾對齊柏林硬式飛艇的信心——在當(dāng)時硬式飛艇被認(rèn)為是可行的最安全空中旅行模式。
During the 1920s and 1930s, Zeppelins had operated regular flights, totting civilians back and forth between Germany and the Americas. But all of that stopped in 1937. The incident effectively killed the use of dirigibles as a commercially viable mode of passenger transport, ending the golden age of the airship not with a whimper, but with a horrific bang that was photographed and then syndicated around the globe.
在20世紀(jì)20年代到30年代之間，硬式飛艇有著定期的航班在德國和美洲之間來回運輸旅客，但所有這一切在1937年停止了。這一事故事實上終止了飛艇作為一種商業(yè)上可行的客運模式，不是通過小動靜，而是通過照片傳遍全世界的一聲巨響，結(jié)束了飛艇的黃金時代。
The Photograph That Saved the Planet
“The Tetons – Snake River” Ansel Adams, 1942
“Tetons-Snake河"——安塞爾·亞當(dāng)斯（Ansel Adams），1942
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Some claim photography can be divided into two eras: Before Adams and After Adams. In Times B.A., for instance, photography wasn’t widely considered an art form. Rather, photographers attempted to make their pictures more “artistic” (i.e., more like paintings) by subjecting their exposures to all sorts of extreme manipulations, from coating their lenses with petroleum jelly to scratching the surfaces of their negatives with needles. Then came Ansel Adams, helping shutterbugs everywhere get over their collective inferiority complex.
有人說攝影可劃分為兩個時代：亞當(dāng)斯之前和亞當(dāng)斯之后。比如在亞當(dāng)斯之前，攝影并沒有被廣泛認(rèn)為是一種藝術(shù)形式。相反，攝影師們試圖使用各種極端的手法使他們的照片更“藝術(shù)化”（也就是更像是繪畫），比如在他們的鏡頭上涂上凡士林、用針刮擦底片的表面等。然后，安塞爾.亞當(dāng)斯來了，幫助各地的攝影愛好者們克服了集體的自卑。
Brashly declaring photography to be “a blazing poetry of the real,” Adams eschewed manipulations, claiming they were simply derivative of other art forms. Instead, he preached the value of “pure photography.” In an era when handheld point-and-shoot cameras were quickly becoming the norm, Adams and other landscape photographers clung to their bulky, old-fashioned large-format cameras. Ultimately, Adams’ pictures turned photography into fine art. What’s more, they shaped the way Americans thought of their nation’s wilderness and, with that, how to preserve it.
亞當(dāng)斯充滿激情地宣布攝影是“現(xiàn)實的一首燃燒著的詩歌”，他抵制那些“藝術(shù)化”的人工手法，聲稱它們簡直是其它藝術(shù)形式的衍生物。相反，他大力宣揚“純粹攝影”的價值。在那個手持傻瓜相機(jī)正在迅速普及的時代，亞當(dāng)斯和其他風(fēng)景攝影師們則堅持使用笨重的老式的大像幅相機(jī)。最終，亞當(dāng)斯的照片把攝影變成了美的藝術(shù)。此外，這些照片也影響了美國人對國家野生環(huán)境和如何保護(hù)野生環(huán)境的看法。
Adams’ passion for the land wasn’t limited to vistas he framed through the lens. In 1936, he accompanied his photos to Washington to lobby for the preservation of the Kings Canyon area in California. Sure enough, he was successful, and it was declared a national park.
亞當(dāng)斯對大地的熱愛并不限于通過鏡頭拍拍照片。 1936年，他帶著他的照片到華盛頓游說支持加州國王峽谷地區(qū)的保護(hù)法案。果然，他成功了，它被宣布為國家公園。
The Photograph That Kept Che Alive
“The Corpse of Che Guevara” Freddy Alborta, 1967
“切.格瓦拉的尸體”——弗雷迪.阿爾博塔，1967
che-corpse-freddy-alborta
Sociopathic thug? Socialist luminary? Or as existentialist Jean-Paul Sartre called him, “the most complete human being of our age”? Whatever you believe, there’s no denying that Ernesto “Che” Guevara has become the patron saint of revolutionaries. Undeniably, he is a man of mythical status – a reputation that persists less because of how he lived than because of how he died.
反社會的暴徒？社會主義的靈魂人物？或者，正如存在主義者讓·保羅·薩特稱他為“我們這個時代最完整的人”？不管你相信與否，無可爭辯，埃內(nèi)斯托.切.格瓦拉已成為革命者的守護(hù)神。不可否認(rèn)，他是一個神話般的人物 —— 他的聲譽(yù)永存，不是因為他是如何活的而是因為他是如何死的。
Unenthused by his efforts to incite revolution among the poor and oppressed in Bolivia, the nation’s army (trained and equipped by the U.S. military and the CIA) captured and executed Guevara in 1967. But before dumping his body in a secret grave, they gathered around for a strategic photo op. They wanted to prove to the world that Che was dead, in hopes that his political movement would die with him. in fact, anticipating charges that the photo had been faked, Che’s thoughtful captors amputated his hands and preserved them in formaldehyde.
由于格瓦拉不遺余力地在玻利維亞發(fā)起窮人和被壓迫者的革命，在1967年，玻利維亞國家軍隊（由美國軍方和中央情報局培訓(xùn)和武裝）逮捕并處決了格瓦拉。但在把格瓦拉尸體埋進(jìn)一個秘密墳?zāi)怪?，他們聚集在尸體四周，拍了上面這張有目的性的照片。他們想向世界證明格瓦拉已經(jīng)死了，希望他的政治運動與他一起消亡。事實上，為了避免這張照片被說成是偽造的，這些逮捕格瓦拉的人考慮周密，砍下了格瓦拉的雙手并將它們保存在了甲醛里。
But by killing the man, Bolivian officials unwittingly birthed his legend. The photo, which circulated around the world, bore a striking resemblance to Renaissance paintings of Christ taken down from the cross. Even as Che’s killers preened and gloated above him (the officer on the right seems to be inadvertently pointing to a wound on Guevara’s body near where Christ’s final wound was inflicted), Che’s eerily peaceful face was described as showing forgiveness. The photo’s allegorical significance certainly wasn’t lost on the revolutionary protesters of the era. They quickly adopted “Che lives!” as a slogan and rallying cry. Thanks to this photograph, “the passion of the Che” ensured that he would live on forever as a martyr for the socialist cause.
然而玻利維亞官員殺死了格瓦拉，卻無意中誕生了他的傳奇。這張照片在世界各地流傳，神似文藝復(fù)興時期耶穌從十字架上放下來的畫像。就在那些殺死他的劊子手們洋洋得意、幸災(zāi)樂禍圍觀的時候（右邊的官員似乎是不經(jīng)意地指著一處格瓦拉身上遭受的致命傷口），格瓦拉安詳?shù)哪槺恍稳轂轱@示了寬恕。照片的象征意義在這個時代的革命者當(dāng)中當(dāng)然沒有失去。他們很快就喊出了“格瓦拉萬歲！”作為標(biāo)語和戰(zhàn)斗口號。多虧這張照片，“格瓦拉精神”讓他作為社會主義事業(yè)的烈士而永生。
The Photograph that Allowed Geniuses to Have a Sense of Humor
“Einstein with his Tongue Out” Arthur Sasse, 1951
“吐舌頭的愛因斯坦”——阿瑟.薩瑟（Arthur Sasse），1951
einstein-tongue-out
You may appreciate this memorable portrait as much as the next fellow, but it’s still fair to wonder: “Did it really change history?” Rest assured, we think it did. While Einstein certainly changed history with his contributions to nuclear physics and quantum mechanics, this photo changed the way history looked at Einstein. By humanizing a man known chiefly for his brilliance, this image is the reason Einstein’s name has become synonymous not only with “genius,” but also with “wacky genius.”
你可能和下個家伙一樣很欣賞這幅難忘的畫像，但是仍然會有這樣的疑問：“它真的改變了歷史？”。放心吧，我們認(rèn)為它的確做到了。在愛因斯坦通過他對核物理和量子力學(xué)的貢獻(xiàn)改變歷史的同時，這張照片也改變了歷史上對愛因斯坦的看法。這張照片賦予了一個主要以才智著稱的人以人情味，這使得愛因斯坦的名字不僅成為“天才”的代名詞，也成為了“怪才”的代名詞。1
So why the history-making tongue? It seems Professor Einstein, hoping to enjoy his 72nd birthday in peace, was stuck on the Princeton campus enduring incessant hounding by the press. Upon being prodded to smile for the camera for what seemed like the millionth time, he gave photographer Arthur Sasse a good look at his uvula instead. This being no ordinary tongue, the resulting photo became an instant classic, thus ensuring that the distinguished Nobel Prize-winner would be remembered as much for his personality as for his brain.
那么，這一創(chuàng)造歷史的舌頭是怎么回事？似乎是愛因斯坦教授被普林斯頓校園里的記者們糾纏不休，所以他希望能夠安靜地度過自己72歲的生日。攝影師想讓他對著相機(jī)笑一笑，哪怕百萬分之一秒，愛因斯坦卻給了阿瑟.薩瑟一副吐舌頭的好表情。這是不平凡的舌頭，由此產(chǎn)生的照片變成了一個經(jīng)典的瞬間，從而使得這位杰出的諾貝爾獎得主的個人魅力像他的大腦一樣被人記住。
The Photograph That Made the Surreal Real
“Dalí Atomicus” Philippe Halsman, 1948
“達(dá)利原子”——菲利普·哈爾斯曼，1948
dali-atomicus
Philippe Halsman is quite possibly the only photographer to have made a career out of taking portraits of people jumping. But he claimed the act of leaping revealed his subjects’ true selves, and looking at his most famous jump, “Dalí Atomicus,” it’s pretty hard to disagree.
菲利普·哈爾斯曼很可能是唯一的一位通過拍攝人物跳躍而創(chuàng)造了一番事業(yè)的攝影師。不過他聲稱這一跳躍的動作展示了生活中真實的一面，看著他這最出名的一跳——“達(dá)利原子”，很難不同意這一說法。
The photograph is Halsman’s homage both to the new atomic age (prompted by physicist’ then-recent announcement that all matter hangs in a constant state of suspension) and to Dalí’s surrealist masterpiece “Leda Atomica” (seen on the right, behind the cats, and unfinished at the time). It took six hours, 28 jumps, and a roomful of assistants throwing angry cats and buckets of water into the air to get the perfect exposure.
這張照片是哈爾斯曼同時向新的原子時代（物理學(xué)家在當(dāng)時剛宣布所有的物質(zhì)以一種恒定狀態(tài)懸浮）和達(dá)利（譯者注：西班牙超現(xiàn)實主義畫家）的超現(xiàn)實主義杰作“麗達(dá)原子”（看右邊，在貓的后邊，當(dāng)時還未完成，譯者注：是一幅美女斯巴達(dá)王后Leda被化為天鵝的宇斯ooxx的故事畫呵呵）致敬的作品。拍這張照片花了六個小時，跳了28次，還有一屋子的助手向空中扔那些憤怒的貓和裝滿水的水桶以獲得完美的曝光。
But before settling on the “Atomicus” we know today, Halsman rejected a number of other concepts for the shot. One was the idea of throwing milk instead of water, but that was abandoned for fear that viewers, fresh from the privations of World War II, would condemn it as a waste of milk. Another involved exploding a cat in order to capture it “in suspension,” though that arguably would have been a waste of cats.
但是今天我們知道，在選定“原子”之前，哈爾斯曼為這個鏡頭拋棄了其它的一些想法。其中之一是扔牛奶而不是水的想法，但被放棄了，因為擔(dān)心觀眾剛剛從第二次世界大戰(zhàn)的物資匱乏中擺脫出來，會譴責(zé)扔牛奶是種浪費。另一個想法是炸死一只貓，以便捕捉到它“懸浮”的情景，盡管這無疑將是貓的濫用。
Halsman’s methods were as unique as they were effective. His celebrity “jump” portraits appeared on at least seven Life magazine covers and helped usher in a new – and radically more adventurous – era of portrait photography.
哈爾斯曼的方法不僅獨特而且有效。他著名的“跳”的肖像照片至少出現(xiàn)在了七本生活雜志的封面，并幫助迎來了一個新的——而且從根本上更大膽的——肖像攝影時代。
