Documenting the World for 125 Years

　　125年的光影實(shí)錄

　　So, you want to see the Great Sphinx, but don’t have the big bucks for an Egyptian jaunt. Easy — go to your computer, type a few words into a search engine and within seconds thousands of images pop up for your viewing pleasure. Prefer to see the timeless creature at sunset, drenched in warm orange hues? Sure. Curious to see different angles? No problem.

　　你想看獅身人面像，但沒(méi)錢(qián)去埃及旅游?很簡(jiǎn)單——打開(kāi)電腦，在搜索引擎里輸入幾個(gè)詞，幾秒鐘內(nèi)，成千上萬(wàn)的圖片就會(huì)出現(xiàn)在你面前，讓你享受視覺(jué)盛宴。更想看到這個(gè)永恒建筑浸染在橘黃色落日余光中的景象嗎?可以。想從不同角度看?沒(méi)問(wèn)題。

　　Living in 1910? Big problem. With no television, Instagram or Internet, you were lucky to read adventure tales, detailed sketches and explorers’ papers.

　　生活在1910年能做到這些嗎?這是個(gè)大問(wèn)題。在沒(méi)有電視、Instagram或網(wǎng)絡(luò)的情況下，能夠讀到冒險(xiǎn)故事、看到細(xì)節(jié)圖及探險(xiǎn)者的記述，那就已經(jīng)非常幸運(yùn)了。

　　That changed more than a decade later, when one of the first black-and-white photos of the Sphinx appeared in the National Geographic magazine. Next to the image, published in the October 1922 issue, Frederick Simpich wrote, “We know superficial Egypt — the donkey boys, the beggars whining for bakshish, the smirking guides … and we have been photographed astride a blasé, flea-bitten old camel standing on the sands before the Sphinx.”Since 1888, National Geographic photographers have brought the world to its global readership, offering viewers glimpses of landscapes, cultures and archaeological wonders that, before the magazine, many would never have had the opportunity to experience. Through the decades, the magazine grew a photographic archive that reflected the process of globalization, too, as travel became more available and reached remote locations. Images in the magazine of a westernized Japan in the 1960s exposed a country steadily developing after devastation from World War II. Years later, an image of a more modern Shinjuku district in Tokyo was printed in the magazine, highlighting the booming growth of the skyscraper-saturated city.

　　十多年后，當(dāng)《國(guó)家地理》(National Geographic)雜志刊登獅身人面像最早的黑白照片中的一張時(shí)，情況發(fā)生了改變。這張圖片刊登于1922年的10月刊，圖片旁印有弗雷德里克·辛皮奇(Frederick Simpich)寫(xiě)下的“我們對(duì)埃及的了解都是表面的——趕驢的小男孩、哭求施舍的乞丐，以及洋洋得意的導(dǎo)游……我們跨坐在無(wú)動(dòng)于衷的、有蚤咬疤痕的老駱駝身上，在獅身人面像前的沙漠中拍照。”自1888年以來(lái)，《國(guó)家地理》雜志的攝影師為全球的讀者展示了世界風(fēng)貌，帶領(lǐng)讀者領(lǐng)略各地的風(fēng)景、文化和考古奇觀，在這本雜志出現(xiàn)以前，很多人一輩子都沒(méi)有機(jī)會(huì)體驗(yàn)這些。數(shù)十年來(lái)，隨著旅游變得更加容易，人們能夠到達(dá)偏遠(yuǎn)地區(qū)，《國(guó)家地理》雜志逐步建立了一個(gè)圖片檔案，這個(gè)圖片檔案也體現(xiàn)了全球化的進(jìn)程。20世紀(jì)60年代，該雜志刊登的一張圖片展示了西化的日本，一個(gè)經(jīng)歷二戰(zhàn)破壞后穩(wěn)步發(fā)展的國(guó)家。該雜志多年之后刊登的一張圖片則展示了更加現(xiàn)代的東京新宿區(qū)，突顯了這個(gè)滿(mǎn)是摩天大樓的城市的蓬勃發(fā)展。

　　Several of these images, along with a sprawling selection spanning the magazine’s life, have been published in a three-volume set: “Around the World in 125 Years” (a nod to Jules Verne’s adventure novel, “Around the World in 80 Days”). Published by Taschen, each volume is devoted to a region, taking viewers on a photographic and historical transcontinental journey.

　　其中一些圖片和大量出自雜志不同歷史時(shí)期的精選圖片被收錄到了《環(huán)游世界125年》(Around the World in 125 Years，以此向儒勒·凡爾納[Jules Verne]的《環(huán)游世界80天》[Around the World in 80 Days]致敬)中。這套圖書(shū)共有三冊(cè)，由Taschen出版社出版，每一冊(cè)只展現(xiàn)一個(gè)地區(qū)，帶領(lǐng)讀者開(kāi)啟橫貫大陸的攝影及歷史之旅。

　　“I think it’s important to have a record and documentation of how we once were,” said Steve McCurry, a National Geographic photographer for more than 30 years. “Without it, we would never know how we were or how we looked.”

　　“我覺(jué)得用文字和素材記錄我們過(guò)去的樣子非常重要，”《國(guó)家地理》雜志攝影師( McCurry)說(shuō)。“沒(méi)有這些記錄，我們永遠(yuǎn)都不會(huì)知道我們過(guò)去的生活和面貌�！盡cCurry已經(jīng)為該雜志工作了30多年。

　　Mr. McCurry — who has 11 images published in the book — said that during his travels, he had slowly witnessed the disappearance of cultures, from the way people dress, talk and celebrate traditions. Distinct features of the Kalash, a small tribe in Pakistan that he documented in the 1980s, have almost completely disappeared, said Mr. McCurry, famed for his portrait of the “Afghan Girl,” which graced the June 1985 cover. Many of the Kalash people have since migrated to the west of Pakistan, he said, slowly integrating with those of surrounding villages.Most of the images in the book were taken from the 1930s to 1960s, during the initial rise of air travel and car ownership. During this time, it also became easier for photographers to transport their gear, when the magazine began to encourage its photographers to use 35-millimeter Kodachrome film, which allowed them to capture rich color and faster motion. While photographers before were limited to presenting their subjects in staged positions to diminish traces of blur, Kodachrome made it easier to document people and animals interacting with their environments.

　　書(shū)中收錄了McCurry的11幅攝影作品。McCurry表示，他在旅行期間，從人們穿衣、說(shuō)話(huà)及慶祝傳統(tǒng)節(jié)日的方式上，逐漸目睹了文化的消失。McCurry在20世紀(jì)80年代記錄了巴基斯坦的小部落卡拉什，他認(rèn)為卡拉什人顯著的外貌特征幾乎已經(jīng)完全消失。McCurry因照片《阿富汗女孩》(Afghan Girl)而揚(yáng)名世界，該照片是1985年6月刊的封面照片。他說(shuō)，在那以后，許多卡拉什人都遷移到了巴基斯坦西部地區(qū)，逐漸與周?chē)�村莊的村民融合。書(shū)中的大部分照片拍攝于20世紀(jì)30年代至60年代期間，當(dāng)時(shí)剛剛掀起乘飛機(jī)旅行和購(gòu)買(mǎi)汽車(chē)的熱潮。在這段時(shí)間里，對(duì)于攝影師來(lái)說(shuō)，運(yùn)送設(shè)備也變得更加容易，當(dāng)時(shí)該雜志開(kāi)始鼓勵(lì)攝影師使用(Kodachrome)的35毫米膠卷，這種膠卷允許他們捕捉豐富的色彩和更快的動(dòng)作。攝影師之前只能以擺拍的形式呈現(xiàn)主題，以便減少模糊痕跡，而Kodachrome)膠片使攝影師更容易記錄人和動(dòng)物與周?chē)�環(huán)境的互動(dòng)。

　　“It’s not enough to just take a picture of the Taj Mahal,” Mr. McCurry said. “Fifty years ago, simply showing the Taj Mahal was great because no one had seen it before. Now we have to dig much deeper and see how people are living and changing their environments. It’s about being much more critical and observant on how we show our subjects.”

　　“光給泰姬陵(Taj Mahal)拍張照是不夠的，”McCurry說(shuō)。“50年前，能展示泰姬陵的照片就非常棒了，因?yàn)闆](méi)人見(jiàn)過(guò)�，F(xiàn)在，我們得挖掘更深層的東西，觀察人們?nèi)绾紊�活，如何改變周�(chē)�的環(huán)境。我們?cè)谡故九臄z對(duì)象的時(shí)候要更謹(jǐn)慎地判斷、更仔細(xì)地觀察�！�

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