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《纽约时报》包揽普利策新闻摄影奖项

New York Times Wins Two Photography Pulitzers
《纽约时报》包揽普利策新闻摄影奖项

The New York Times has swept the 2014 Pulitzer Prizes for photography. The staff photographer Tyler Hicks won the 2014 Pulitzer Prize in breaking news photography for his coverage of a terrorist attack at an upscale mall in Nairobi, Kenya, that left more than 60 people dead. Josh Haner was awarded the Pulitzer in feature photography for his images of the slow and painful recovery process for a survivor of the Boston Marathon bombing.

《纽约时报》包揽了2014年度普利策奖的新闻摄影类奖项。专职摄影师泰勒·希克斯(Tyler Hicks)因报道发生在肯尼亚内罗毕一家高档商场的恐怖袭击事件荣获2014年普利策突发新闻图片奖,那次事件导致了60余人丧生。乔希·哈纳(Josh Haner)则夺得了专题摄影奖,他拍摄了波士顿马拉松(Boston Marathon)爆炸案的一名幸存者缓慢而痛苦的康复进程。

The announcement was made on Monday by Columbia University, which bestows the awards.

上述奖项由哥伦比亚大学(Columbia University)颁发,本次的获奖结果是哥伦比亚大学于周一公布的。

“For me it’s a symbol of what we do at the newspaper as a whole — the best of foreign reporting and the best of our enterprise,” said Michele McNally, the paper’s assistant managing editor for photography. “It is recognition that our photojournalism is on par with the quality of The New York Times’s reporting, which is the best in the world.”

《纽约时报》负责新闻图片的助理主编米歇尔·麦克纳利(Michele McNally)说,“对我来说,它体现了新闻摄影在整个报社的价值——反映了最棒的海外报道,也反映了我们最竭诚的努力。这个奖项认可了我们新闻摄影的水平与《纽约时报》报道的总体水平是一致的,而时报的报道是全世界最好的。”

This is the second time that the Times has won both Pulitzer photography prizes in the same year. In 2002 The Times won in breaking news for a portfolio of work by 15 photographers who covered the events of Sept. 11, 2001, and the feature award for five photographers’ work in Pakistan and Afghanistan after those attacks.

这是《纽约时报》第二次把普利策奖同一年的两个摄影奖项全都收入囊中。2002年,《纽约时报》凭借15名摄影师对2001年9·11事件的一组摄影报道赢得了突发新闻图片奖,同年的专题摄影奖颁给了《纽约时报》的五名摄影师,他们因9·11袭击后,在巴基斯坦和阿富汗拍摄的作品而获奖。

Mr. Hicks was part of a Times team that won the 2009 Pulitzer for international reporting from Afghanistan and Pakistan. He has won numerous international awards, including Newspaper Photographer of the Year from Pictures of the Year International in 2006.

《纽约时报》还在2009年因为对阿富汗和巴基斯坦的报道赢得了普利策国际新闻报道奖,希克斯是获奖团队中的一员。他曾荣膺无数国际奖项,包括2006年全球年度图片奖(Pictures of the Year International)年度最佳报纸摄影记者奖。

Mr. Hicks said, “It’s a huge honor to be recognized in this way, and it’s a reminder to me that these stories, however far away and however remote, are being noticed and that the risks that photographers all over the world take in going to dangerous places are being acknowledged and rewarded.”

希克斯说,“以这种方式得到肯定让我不胜荣幸。它也提醒我,不管发生在多遥远和多偏僻的地方,这些事件都会获得关注。此外,全球各地的摄影师在奔赴危险地域时所承担的风险,也得到了大家的承认和回馈。”

Mr. Hicks was born in Brazil and raised in Westport, Conn. He worked at The Troy Daily News in Ohio, where he was hired by Chris Hondros, who died in April 2011 while photographing in Libya. Mr. Hicks, 44, also worked at The Wilmington Morning Star in North Carolina.

希克斯出生在巴西,在康涅狄格州韦斯特波特长大。他曾受雇于克里斯·洪德罗斯(Chris Hondros),为俄亥俄州报纸《特洛伊每日新闻》(The Troy Daily News)工作。2011年4月,洪德罗斯在利比亚做摄影报道时身亡。现年44岁的希克斯还曾在北卡罗莱纳州的《威尔明顿晨星报》(The Wilmington Morning Star)供职。

He lives in Nairobi and was just blocks from the mall when the attack started. As it unfolded, he went inside with security forces as they searched for the attackers. In an interview with Lens later that day Mr. Hicks — who has covered the Afghanistan and Iraq wars and was among four Times journalists abducted and brutalized in Libya in 2011 — described the scene.

希克斯住在内罗毕,商场袭击案发生时,他距离案发地点只有几个街区之遥。随着袭击事件的发展,他和搜索袭击者的安全部队一道进入了商场内。在当日晚些时候接受“镜头”(Lens)博客的采访时,希克斯描述了当时的场景。希克斯曾报道过阿富汗和伊拉克战争,他是2011年在利比亚被绑架并受到残酷虐待的四名《纽约时报》记者之一。

“I could see that there were multiple bodies lying dead in the mall, some lying together just next to where they were having lunch at a cafe,” he said. “It seemed everywhere you turned there was another body.”

他说,“当时我的视野很清楚,可以看到商场里倒着多具尸体,有些倒在一起,是在咖啡店里吃午餐的时候被击中的。不论你看向哪里,尸体似乎无所不在。”

He said that an attack like the one in Nairobi was at least as dangerous, if not more so, than covering the Afghan war and that inside the mall he had to think about where he was standing, what to cover and the type of obstacles to place between him and the gunmen.

他说,拍摄内罗毕商场发生的袭击事件,危险程度达到甚至超过了阿富汗战争。在商场里,他必须思考自己站在何处,要拍摄什么内容,要在自己和枪手之间设置哪类障碍物。

“This is just plain and simple murder of unarmed civilians,” said Mr. Hicks, who has covered many violent conflicts in his career, including Kosovo, Iraq, Afghanistan, Somalia and Sudan. “It’s not a war. These militants went into the mall and executed people: women and children, anyone who got in their path. That’s not typical of war.”

“此次袭击就是对手无寸铁的平民赤裸裸的谋杀。”希克斯说,他曾在职业生涯中拍摄过许多暴力场景,包括发生在科索沃、伊拉克、阿富汗、索马里和苏丹的冲突。“这不是战争。这些武装分子走进商场,杀害平民,杀害他们一路上遇到的任何人,连妇女儿童也不放过。这不是典型的战争。”

Mr. Hicks passes the mall, now bullet ridden and boarded up, almost every day. Each time, he says, it brings back memories of the attack. Events like this attract global attention for a short while and then are often forgotten by most people, he said.

希克斯几乎每天都会经过那座商场,现在那里布满了弹孔,装上了板子遮盖。他说,每一次,那里都会让他回想起当时袭击的场景。他说,此类事件会在短期内吸引全球的关注,而后往往会被大多数人遗忘。

He chooses to remember as much as he can.

他选择要尽可能多地铭记。

“I don’t believe that it’s better to forget, after you volunteer to go and cover conflict or enter the Westgate Mall during a terrorist attack — you’re committing to that experience,” he said. “I think it would be disrespectful to the people you’ve photographed suffering in terrible circumstances to tuck those memories away and ignore them. You owe it to each person to not forget what happened. Once you have witnessed these events then they are part of you, they are a part of who you are.”

“在你自愿前去报道一场冲突,或者在恐怖袭击发生时进入韦斯特盖特商场(Westgate Mall)之后,你会对当时经历念念不忘,我不认为应该忘记,”他说。“我想,把那段记忆隐藏起来,忽略那些你曾拍摄过的、在恐怖环境下遭受不幸的人们,是对他们的一种不尊重。你不能忘记发生的那些事,否则对他们所有人都是一种亏欠。一旦你目击了这样的事件,它就会融入你的记忆,成为你生命的一部分。”

Mr. Haner, 34, won the feature Pulitzer for his photographs of Jeff Bauman, who lost both legs in the Boston Marathon bombing. Mr. Haner followed Mr. Bauman, 28, over the course of two and a half months, documenting his struggles and private moments with his family and girlfriend.

今年34岁的哈纳凭借对杰夫·鲍曼(Jeff Bauman)的图片报道赢得了普利策专题摄影奖。鲍曼在波士顿马拉松爆炸案中失去了双腿。哈纳在长达两个半月的跟拍过程里,追踪着28岁的鲍曼的生活,记录下了他备受煎熬的状态,以及他和家人及女友在一起的时刻。

Mr. Bauman was at the marathon to cheer on his girlfriend, Erin Hurley, when the bombs went off. A graphic photo of him being pushed in a wheelchair chair moments after the explosions, taken by Charles Krupa of The Associated Press, became one of the most widely published images from that day.

炸弹引爆时,鲍曼正在马拉松比赛现场为他的女友埃琳·赫尔利(Erin Hurley)加油。美联社(The Associated Press)摄影记者查尔斯·克鲁帕(Charles Krupa)拍下的一张照片生动地记录了爆炸发生后不久,鲍曼坐在轮椅上被推离现场的一刻。这张照片成了当天流传最广的照片之一。

Mr. Haner arrived in Boston that evening to cover the aftermath, and over the next few days he worked with, among others, the reporter Tim Rohan, who had recently finished an internship at The Times.

哈纳当天傍晚到达波士顿报道爆炸后续,在接下来的几天里,他和记者蒂姆·罗汉(Tim Rohan)等人一起合作。罗汉最近刚刚结束了在《纽约时报》的实习。

Mr. Rohan, 24, connected with the Bauman family and wrote “Beyond the Finish Line,” which detailed Mr. Bauman’s recovery. Together the journalists spent a lot of time with Mr. Bauman, at times playing video games with him when he was without other visitors.

今年24岁的罗汉认识鲍曼一家,在他撰写的《终点线之后》(Beyond the Finish Line)一文中,详细记录了鲍曼的恢复过程。这两名记者与鲍曼一起度过了许多时间,有时候在没有其他访客的时候会和他一起打电子游戏。

In an interview with the Nieman Storyboard site last year, Mr. Rohan described what happened when Mr. Haner started photographing the story.

罗汉去年接受了“尼曼故事板”(Nieman Storyboard)网站的采访,他在接受采访时描述了哈纳开始用图片记录这个故事时发生的事情。

“After the first week and a half our photographer, Josh Haner, joined in, and he fit like a glove,” Mr. Rohan said. “Everyone loves Josh, so when he came in he made the atmosphere lighthearted. It was a good mix of people. That really was important, to keep Jeff at ease.”

“最初的一周半过后,我们的摄影师乔希·哈纳加入,他立刻融入了这个集体,”罗汉说。“每个人都喜欢乔希,所以他来了以后气氛也变得轻松。这些人聚在一起恰到好处,让杰夫感到自在,这一点真的很重要。”

Witnessing Mr. Baumann’s painful recovery was difficult for Mr. Haner.

对哈纳来说,目睹鲍曼痛苦的康复历程不是一件容易的事。

“The most important thing I learned was when to not take a picture — knowing that there were certain moments to be respected and just let the moment stand on its own without the interruption of a click,” he said. “It’s knowing when a picture is exploitative and when it’s necessary for the story.”

“我学到最重要的一件事就是,什么时候应该停下来——明白对一些特定的时刻要存有敬意,让这样的时刻不受快门声音的打扰而独立地存在,”他说。“就是知道什么时候拍照是在消费痛苦,什么时候对故事是必要的。”

Mr. Haner also shot video daily, often carrying four DSLR’s — two equipped specifically for video and the other two for stills. A video produced by Mr. Haner, Catherine Spangler and Mr. Rohan won a first-place award in the Best of Photojournalism contest and a second place in Picture of the Year International for feature multimedia story.

哈纳常常带着四台单反相机,两台专门用来拍摄视频,两台拍静态图片。他每天也会拍摄一些视频。由哈纳、凯瑟琳·斯潘格勒(Catherine Spangler)和罗汉制作的视频获得了最佳新闻摄影奖(Best of Photojournalism)的一等奖和全球年度图片奖多媒体特写故事的二等奖。

Like Mr. Hicks, Mr. Haner also spoke about the length of the public’s memories.

和希克斯一样,哈纳也提到了大众记忆时间长短的问题。

“My concern is that people forget tragedies like this,” he said. “It’s important to bring attention to what survivors are going through and how their lives change, and help them.”

“我的担心是,人们会忘记像这样的悲剧事件,”他说。“让人们注意到幸存者正在经历的一切,以及他们的生活发生了怎样的改变,从而帮助他们,这十分重要。”

Ms. McNally brought Mr. Haner to The Times in 2004 after he had worked for her at Fortune magazine for a year. He was a co-founder of the Lens blog in 2009. He is currently a staff photographer and the senior editor for photo technology.

哈纳之前曾在《财富》(Fortune)为麦克纳利效力一年,2004年麦克纳利带他一起加入了《纽约时报》。哈纳在2009年共同创立了“镜头”博客。他目前为《纽约时报》专职摄影师,也是摄影技术方面的资深编辑。

Among his many contributions to the use and display of photos at The Times is developing a backpack-size transmission device that allows images from major events to be sent instantaneously and posted online within minutes. He has carefully guarded his technological advances from competitors.

在《纽约时报》,哈纳在图片的使用和展示方面做出了许多贡献,包括开发出一部背包大小的传输设备,可以在重大事件发生时即时传输图片,并在几分钟内传上网。他一直小心地保护了这项技术优势不被竞争对手超越。

Mr. Haner started photographing when he was 10 and immersed himself in photography at the free Harvey Milk Community Darkroom in San Francisco while in elementary school. In 1995, at the age of 15, he started interning with the company that made the “Day in The Life” series of photo books, where he met Ms. McNally as well as the Times deputy photo editor Meaghan Looram.

哈纳10岁时开始拍照,在旧金山读小学时,就曾在哈维·米尔克社区暗房(Harvey Milk Community Darkroom)里花去了大量时间研究摄影。1995年15岁时,他开始在制作了《生命中的一天》(Day in The Life)系列图册的公司实习,在那里他遇到了麦克纳利,以及《纽约时报》图片部副主编米根·卢拉姆(Meaghan Looram)。

At Stanford University he studied symbolic systems, which combines computer science, philosophy, psychology and linguistics, and was also the photo editor for the school newspaper. After graduation, he moved into a trailer park for five months for a documentary photo project, then went to work with Ms. McNally at Fortune.

在斯坦福大学(Stanford University),他学习符号系统。这一学科融合了计算机科学、哲学、心理学和语言学,也是校报的图片部主编。毕业后,他为了拍摄一部图片纪实项目,搬进一个拖车公园,住了五个月,然后他去了《财富》杂志和麦克纳利共事。

Mr. Haner submitted the project for the feature photography Pulitzer. He said that he understood that deciding what to submit was a difficult decision for The Times, particularly with so much good work done at the paper this year. At first he was not thinking of entering himself, but friends pushed him to do so.

哈纳拿这一项目申请了普利策的专题摄影奖。他说,他知道对《纽约时报》来说,提交哪些作品来评奖是一个艰难的抉择,特别是这一年涌现了如此多的优秀作品。一开始,他没有考虑要评奖,但朋友们纷纷鼓励他参加。

Today, standing before his colleagues in the newsroom, he reached a spot he had dreamed of as a child in the Bay area.

今天,站在编辑部各位同事面前,他终于实现了他在湾区时的童年梦想。

“It’s what I wanted my whole life since I picked up the camera and was reading all the credits in the San Francisco Chronicle and was trying to figure out who all these photgraphers were and hoping one day to be among them,” he said.

“自从我拿起照相机,就会细读《旧金山纪事报》(San Francisco Chronicle)上的署名,努力琢磨所有这些摄影师是怎样的人,希望有一天自己也能成为其中之一,这是我自那时起就希望此生能够实现的梦想,”他说。

Today, he was.

今天,他已是他们中的一员。

The complete slide show for both Mr. Haner and Mr. Hicks’s winning entries have been published on The New York Times.

哈纳和希克斯获奖的全部作品已于《纽约时报》发表。

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