|
【案例】
在一战炮火中诞生的现代新闻摄影
1917年，英格兰诺丁汉郡契尔威尔国家弹药灌装厂的兵工厂库房。 Horace Nicholls via Imperial War Museums and Getty Images
In 1914, as the outbreak of World War I brought mass slaughter to Europe’s battlefields, photojournalism evolved rapidly in the muddy trenches, where 19th century tactics met 20th century weapons. Machine guns, airplanes, tanks, flamethrowers, poisonous gas and submarines were widely used for the first time against doomed troops that were sent by their generals into frontal attacks that left millions dead. 1914年第一次世界大战爆发，大规模杀戮降临欧洲战场，19世纪的战术与20世纪的武器在泥泞的战壕中相遇，而新闻摄影也在战场上迅速演进。机枪、飞机、坦克、火焰喷射器、毒气和潜艇首次得到了广泛使用，被将军们送入正面攻击战场的部队注定要以失败告终，数百万人命丧疆场。 This unimaginable carnage was witnessed by photographers who for the first time got close enough to the front to document combat, as well as scenes of soldiers at rest and at play. 这是令人难以想象的杀戮场景，见证它们的摄影师第一次可以如此近距离地置身前线，拍摄下战斗以及士兵休息和玩乐的场面。
1917年法国北部阿拉斯附近，一名军官在高处指挥苏格兰第九步兵团秘密穿过一个火力网。Lt. John Warwick Brooke, British Army photographer, via Imperial War Museums
“The First World War is the conflict in which the concept of documentary truth first evolved,” said Hilary Roberts, the photography curator at the Imperial War Museums in London and a co-author of “The Great War: A Photographic Narrative.” “Prior to that, because of the scarcity of press photography in general, picture desk editors from newspapers were quite happy to use photographs which were merely representative or illustrative of a point rather than showing a genuine event itself.” “在一战中，首次出现了’纪实性事实’(documentary truth)这个概念，“希拉里·罗伯茨(Hilary Roberts)说；她是伦敦帝国战争博物馆(Imperial War Museum)的摄影策展人，也是《宏大战争：摄影叙事》(The Great War: A Photographic Narrative)的合著者。“在此之前，由于新闻摄影作品通常很稀少，报社的图片编辑们能使用那种仅仅可以代表、说明状况的图片，而不是真正展示事件本身的照片，也就心满意足了。” Photography had been in its infancy during the Crimean War in the 1850s and the Civil War in the 1860s, requiring long exposures on plates that had to be developed immediately in huge, mobile darkrooms. The cameras were large and bulky, requiring photographers to shoot landscapes or, if photographing people, to pose them. Photographers were forced to record war before and after battles, and combat was impossible to cover. 在19世纪50年代的克里米亚战争(Crimean War)和19世纪60年代的美国内战(Civil War)期间，摄影还处于萌芽阶段，感光底片需要长时间曝光，而且必须立刻在巨大的移动暗房中进行冲洗。当时的相机又大又笨重，摄影师只能用它们来拍摄风景和摆好姿势的人像。战斗进行的场面是无法拍摄的，摄影师不得不在战斗发生之前和之后记录战争。
1914年一次非正式圣诞节休战期间，西部防线上佛兰德的普卢赫斯泰尔特森林里英国部队和德国部队混在一起。Getty Images
By the start of World War I, smaller cameras and film formats let professional photographers make images quickly and under difficult light. Eastman Kodak introduced the Brownie in 1900, popularizing amateur photography. The Vest Pocket Kodak, introduced in 1912, soon became the most popular camera carried by soldiers. Although forbidden by some militaries, including Britain’s, many soldiers took these cameras to the front. 一战爆发时，尺寸较小的相机和胶片已经出现，因此专业摄影师可以在光线不佳的情况下快速拍摄照片。柯达于1900年推出布朗尼相机(Brownie)，令业余摄影得以普及。1912年面世的袖珍式柯达(Vest Pocket Kodak)很快成为了士兵中最流行的相机。虽然英军和其他一些军队禁止士兵把这些相机带到前线，但很多士兵并未遵守这个禁令。
1918年利斯河战役中埃斯泰尔之战期间，被催泪气熏瞎眼睛的英国士兵正在法国北部贝蒂讷附近等待医疗。2nd Lt. Thomas K. Aitken, British Army photographer, via Imperial War Museums and Getty Images
“Photography seems to have played a substantial role in the personal life of soldiers,” said Bodo von Dewitz, an expert on photography during World War I, who recently retired as curator of photography at the Museum Ludwig in Cologne. “It made them proud that they could inform their families with pictures and, more importantly, to document their heroic participation in this war. After 1916, there were strict rules of what to show and what not. But the pictures from the front, sent by soldiers to their families, could not be controlled that much.” “摄影似乎在士兵的个人生活中发挥了重大作用，“博多·冯德威兹德(Bodo von Dewitz)说；他是一战摄影领域的专家，不久前从科隆路德维希博物馆(Museum Ludwig)的摄影策展人职位上退了休。“这让他们感到自豪，因为他们可以用照片让家人了解情况，更重要的是，用照片记录下他们英勇参战的经历。1916年之后，有一些严格的规定限制哪些画面可以展示，哪些不可以。但是对士兵从前线寄给家人的照片，就无法那么严格控制了。”
英国任命的第一位官方摄影师是欧内斯特·布鲁克斯。 IMPERIAL WAR MUSEUMS
Independent photographers were kept far from the front lines, creating a problem for newspapers whose circulation depended on having pictures to illustrate dispatches from the war. 独立摄影师们被远远隔离在前线之外，给那些依赖照片来描绘战地新闻的报社带来了麻烦。 “It was a terribly important element for them when professional press photographs became unavailable in 1914,” Ms. Roberts said. “The newspapers of every nation were in a quandary and constantly asserting pressure on the authorities to deal with this situation.“The solution reached by the authorities was to appoint official photographers, most of whom had worked for newspapers before joining the military. They used medium-format cameras that produced small glass-plate negatives – the Leica, which popularized the 35-millimeter film format, was still 10 years from being released to the public. The first photographer appointed by Britain was Ernest Brooks, whose debut assignment was to cover the disastrous Gallipoli campaign, a failed attempt by the Allied powers to capture the Ottoman capital, Constantinople. “1914年时无法获得专业新闻图片，这是一个极其重要的问题，“罗伯茨说。“每个国家的报社都感到无所适从，为了应对这种情况，他们不断向当局施压。“当局达成的解决办法是任命官方的摄影师，而大多数官方摄影师在参军之前，都曾在报社任职。他们使用的是可以生成小尺寸玻璃板底片的中画幅相机——普及了35毫米胶片的徕卡(Leica)相机10年之后才会面世。英国任命的第一位摄影师是欧内斯特·布鲁克斯(Ernest Brooks)，他的首个任务是记录惨烈的加里波利战役；在这场战役中，协约国军队试图占领奥斯曼帝国首都君士坦丁堡，却以失败告终。
1915年北部埃佩伊战争期间，埃斯科河畔设在一座法国农舍院子里的英国战地急救中心外，躺在担架上的盟军士兵。2nd Lt. David McLellan, British Army photographer, via Imperial War Museums
Mr. Brooks had no reservations about recreating scenes he had witnessed earlier or even posing photographs outright. After being exposed by other journalists for faking photographs, he would not stage photographs again. The next year, 1916, Britain introduced a policy known as Propaganda of the Facts, which banned staged or fake images, noting that they undermined Allied credibility. 布鲁克斯不遗余力重建他早前曾亲眼目睹的战争场面，甚至直接摆拍。他伪造照片的事情被其他记者曝光之后，布鲁克斯就再也没有摆拍过了。次年，即1916年，英国出台了名为“事实宣传“(Propaganda of the Facts)的政策，禁止摆拍或伪造照片，声称那破坏了协约国军队的可信度。 Mr. von Dewitz said that many photographs from World War I that have become a part of the historical record do not actually show what the captions purport. “Faked pictures came from maneuvers, showed staged scenes from behind the front or came from movies,” he said. These images are still sometimes published to accompany stories about World War I.During the war, questions about whether a photographer’s role was to illustrate reporting or to tell a visual story that could stand without words, and to what extent staging photographs was acceptable, were all being addressed for the first time. 冯德威兹德说，在已经成为历史记录组成部分的一战照片中，有很多实际上与图释并不吻合。“假照片有些是在演习中拍摄的，有些是在后方摆拍的，有些是从电影中截取的，“他说。到现在，这些照片仍然时不时和一战故事一起出现。摄影师的角色是对文字报道加以说明，还是讲述一个无需配文、可以独立存在的视觉故事？哪种程度的摆拍是可以接受的？这些都是一战中首次出现的问题。
尽管通讯社原始图说描述，图中一名德国官员带领手下穿越光气跑向英国战壕，但这张图片几乎可以肯定是后方演习。 GENERAL PHOTOGRAPHIC AGENCY, VIA GETTY IMAGES
“The answers in many respects informed the job photojournalists do today,” Ms. Roberts said. “The same debates still go on in context of a war zone – what may be different about conflicts now and the First World War is the question of whether the war itself is justified.” “从很多方面来说，对这些问题的回答贯穿在了摄影记者如今的工作中，“罗伯茨说。“在有关战区的摄影方面，同样的争论仍然在继续——当前的战争和一战不同的地方可能在于，战争本身是否合理的问题。” Mr. Brooks, who eventually covered the Western Front, ended the war as a highly decorated photographer and went on to work as an official photographer to the Royal Family. But his career came to an abrupt end because of the emotional toll from his wartime work. Ms. Roberts said she believed that Mr. Brooks suffered from undiagnosed post-traumatic stress disorder, called shell shock at the time. 布鲁克斯后来报道了西线战事，一战结束时，他作为一名备受赞誉的摄影师，成为英国皇室的官方摄影师。但因为战争期间的工作给他带来了情感上的创伤，他的职业生涯戛然而止。罗伯茨说，她认为布鲁克斯遭受了创伤后应激障碍(PTSD)，也就是当时所说的“炮弹休克“(shell shock)，只是没有被诊断出来。
1917年，一名德国官方摄影师在报道西线战事。 GERMANY ARMY BILD UND FILM AMT, VIA IMPERIAL WAR MUSEUMS
“There were a variety of incidents,” Ms. Roberts said. “He was arrested several times for drunkenness, then a scandal and then finally lost all his appointments and went bankrupt.” “他闯下各种祸事，“罗伯茨说。“因为醉酒被逮捕几次，然后又发生了一起丑闻，他最终失去了所有职位，破了产。” Though Mr. Brooks died in the early years of World War II, today’s conflict photographers owe him and his colleagues a great debt. 虽然布鲁克斯在二战爆发的头几年即已过世，如今的战地摄影师却欠了他和他的同事很多很多。 “They really did lay the foundation of war photography today,” Ms. Roberts said. “When you look at the technology these photographers had access to, I think it is such a remarkable achievement. I really do wonder whether photographers who are covering the Syrian conflict or conflicts around the world today, if they could go back 100 years and take their present equipment with them – their digital camera and long-range lens and so on and so forth – and document the First World War, I wonder if they could do much better.” “他们真的为如今的战地摄影奠定了基础，“罗伯茨说。“看看摄影师现在能够利用的技术，我觉得他们的成就非常了不起。我在想，如今正在记录叙利亚冲突或世界各地其他冲突的摄影师，如果他们能带上如今的设备——数码相机和长焦镜头等等——回到100多年，拍摄一战的照片，我不知道他们拍得能比当年强多少。”
1917年比利时帕斯尚尔战役中，一名英国士兵站在皮尔科姆附近战友的墓前。Lt. Ernest Brooks, British Army photographer, via Imperial War Museums and Getty Images
编辑：臧博
| 
楼主: admin
楼主
发表于 2019-2-6 09:42:54
