{"slug":"leica-2024-preview-predictions","title":"中国摄影师入围！2024徕卡摄影奖作品赏析+大奖预测！","author":"Thomas看看世界","date":"2024-09-01","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247500669&idx=1&sn=dd843e265181ee6250e953fc517bfcfa&chksm=eb823d19dcf5b40fe1d6fcd3bca8f5acc0cfadee91f59dd7fdee95f094ab53707c6d59a2639a&scene=21#wechat_redirect","blocks":[{"t":"p","x":"徕卡奥斯卡·巴纳克奖是一个水平相当高的世界性人文纪实类摄影比赛。","b":false,"xe":"The Leica Oskar Barnack Award is a world-class documentary and human-interest photography contest of a very high standard."},{"t":"p","x":"在今天的摄影教程中，Thomas会和大家一起赏析和学习2024年的12组入围作品，包括中国摄影师Tong Niu关于快递产业的视觉呈现，一起学习如何用照片来讲故事。","b":false,"xe":"In today's photography tutorial, Thomas will appreciate and learn from the 12 shortlisted works of 2024 with everyone, including Chinese photographer Tong Niu's visual presentation of the express delivery industry — learning together how to tell stories with photos."},{"t":"img","f":"img-01","w":800,"h":800},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV11w4m167Ac","bpic":"bili-1","bt":"中国摄影师入围！2024徕卡摄影奖作品赏析+大奖预测！"},{"t":"p","x":"这一篇是上面视频的图文整理。徕卡奥斯卡·巴纳克奖（LOBA）是 Thomas 长期关注的国际级人文纪实摄影赛事，本期视频逐一浏览了 2024 年的 12 组入围作品——从中国快递员、伊朗女性到纳卡冲突与全球新能源产业，下文按主题整理成五个章节，并配上视频关键帧，方便快速把握每组作品的看点与整个奖项的风向。","xe":"This is the illustrated companion to the video above. The Leica Oscar Barnack Award (LOBA) is an international documentary prize Thomas has followed for years; this episode walks through all 12 shortlisted series of 2024 — from Chinese couriers and Iranian women to the Nagorno-Karabakh conflict and the global new-energy industry. The five chapters below group the works by theme with keyframe screenshots, so you can quickly grasp each series and the award's overall direction.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 赛事风向：严肃议题与组图叙事","xe":"01 The Award's Direction: Serious Topics and Series Storytelling"},{"t":"p","x":"徕卡奥斯卡·巴纳克奖由徕卡相机厂商主办，调性与世界新闻摄影赛（荷赛）比较类似：关注纪实类摄影，题材大多是环境、战争、灾难、城市化等严肃的全球化议题。这个比赛特别值得摄影爱好者关注的地方，在于它示范了如何用组图去叙事——用一组照片讲述一个故事，以及故事背后复杂的社会问题（视频 0:48 处）。","xe":"Organized by Leica, the Oscar Barnack Award shares a sensibility with World Press Photo: it centers documentary photography and gravitates toward serious global topics — environment, war, disaster, urbanization. What makes it especially worth a hobbyist's attention is how it demonstrates series storytelling — using a set of photographs to tell one story and the complex social issues behind it (at 0:48 in the video).","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"今年的 12 组入围作品可以在 LOBA 官网上逐组浏览，每组都有完整的图片与文字介绍。整体看下来，风向依旧明确：严肃议题、长期跟踪、深入当地的组图叙事，是这个世界级奖项一贯的审美（视频 1:26 处）。","xe":"All 12 shortlisted series can be viewed on the LOBA website, each with complete images and text. Read together, the direction is clear as ever: serious topics, long-term commitment, and deeply reported series storytelling remain this world-class award's consistent taste (at 1:26 in the video).","b":false},{"t":"h","x":"02 快递员与伊朗女性：色彩服务于叙事","xe":"02 Couriers and Iranian Women: Color in the Service of Story"},{"t":"p","x":"第一组就是中国摄影师 Tong Niu 的《Express Delivery》：这位 1998 年出生的摄影师用大画幅拍摄江苏的快递产业，展现城乡变迁与涌入城市的农村人口。他的母亲就是一位快递员，他又通过实习等方式先与拍摄对象建立信任，因此照片能深入快递站的工作场所与宿舍，甚至跟随他们春节返乡，拍下与留守儿童的生活——非常完整地呈现了快递员从乡村到大城市的生命状态（视频 1:47 处）。","xe":"The first series is 'Express Delivery' by the Chinese photographer Tong Niu: born in 1998, he used large format to document the courier industry in Jiangsu, showing the urban-rural transformation and the rural population flowing into cities. His own mother was a courier, and by apprenticing among workers he first earned their trust — so the pictures reach inside sorting stations and dormitories, and even follow couriers home for Spring Festival to their left-behind children — a remarkably complete portrait of couriers' lives between village and metropolis (at 1:47 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"第二组是 Forough Alaei 拍摄的伊朗妇女平权运动。不同于以往许多比赛里压抑的伊朗叙事，这组照片色调鲜艳明丽，是摄影师有意为之——展示伊朗女性自由、充满生命力的一面：舞者、餐厅经理、摩托车赛车手、汽车修理工、特技演员……同时照片里大量使用动作、手势与背景的隐喻，又隐隐透着不安，指向那个国家复杂的宗教与历史渊源（视频 3:16 处）。","xe":"The second series, by Forough Alaei, covers Iran's women's rights movement. Unlike the repressed Iran narratives familiar from other contests, these pictures are deliberately vivid and bright — showing a free, vital side of Iranian women: dancers, restaurant managers, motorcycle racers, mechanics, stunt performers... Yet the metaphors of gesture and setting carry an undertone of unease, pointing to the country's tangled religious and historical legacy (at 3:16 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 冲突的间接呈现：纳卡、大河与南高加索","xe":"03 Conflict Shown Obliquely: Nagorno-Karabakh, a Great River, the Caucasus"},{"t":"p","x":"Anush Babajanyan 的组图关注亚美尼亚与阿塞拜疆冲突中流离失所的人们：难民们颠沛中的生活、苦难中的日常、儿童吃饭的场景。它印证了当下呈现战争的主流手法——不必去拍激烈的战争场面，而是通过受影响者的生活境遇，间接反映战争背后的残酷与民族矛盾的错综复杂（视频 4:30 处）。","xe":"Anush Babajanyan's series follows people displaced by the Armenia–Azerbaijan conflict: lives in transit, daily moments amid hardship, children eating. It confirms the dominant approach to depicting war today — skip the violent frontline frames and let the circumstances of the affected indirectly reveal the cruelty of war and the tangled ethnic tensions behind it (at 4:30 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"英国摄影记者 Emily Garthwaite 的作品沿底格里斯河展开：从上游源头一路拍摄 1900 公里直到伊拉克河口，探索中东复杂的政治情绪、种族关系、国家边界与不断变化的地理环境。这条人类文明的长河如今也承受着环境灾难，照片因此同时呈现了关于生态、人、环境与政治的多重关系（视频 5:51 处）。","xe":"The British photojournalist Emily Garthwaite worked along the Tigris: 1,900 kilometers from the upper source to the Iraqi delta, probing the Middle East's tangled politics, ethnic relations, borders and shifting geography. This ancient river of civilization now also suffers environmental disaster, so the series holds ecology, people, environment and politics in one frame (at 5:51 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"Ksenia Ivanova 关注南高加索地区的长期冲突。她的手法也是当下流行的范式：不直接表现流血冲突，而是用压抑的情绪、低饱和的色调、复杂的人物表情与动作、富有隐喻的符号，在抓拍与摆拍之间呈现当地人被改写的命运——这也是整个巴纳克奖入围作品的统一趋势（视频 7:02 处）。","xe":"Ksenia Ivanova examines the long-running conflicts of the South Caucasus. Her method is the prevailing paradigm: no bloodshed shown directly, but an oppressive mood, desaturated palette, complicated expressions and gestures, and symbol-laden scenes balanced between candid and staged, conveying how local destinies have been rewritten — a tendency shared across this year's whole shortlist (at 7:02 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 家园与他乡：摩尔多瓦、空镜与失乐园","xe":"04 Homelands Elsewhere: Moldova, Empty Scenes, Paradise Lost"},{"t":"p","x":"来自摩尔多瓦的 Maria Guțu（1996 年出生）拍摄主题《Homeland》：因为经济凋敝，约四分之一的摩尔多瓦人在国外谋生，许多孩子在没有父母陪伴的环境中长大——摄影师自己就是与祖父母一起长大的一代。她的照片充满寻根与家园的诗意，表情、神态与影调的塑造都非常到位，Thomas 认为这是大奖的有力竞争者。这组作品也说明：作品要出彩，往往要关注自己身边最有连接的主题，才能拍出非游客视角的深度（视频 8:41 处）。","xe":"Maria Guțu of Moldova (born 1996) presents 'Homeland': with the economy drained, about a quarter of Moldovans work abroad and many children grow up without their parents — the photographer herself was raised by grandparents. Her pictures carry a poetic sense of roots and home; the expressions, bearing and tonal control are all superb, and Thomas counts the series a strong contender for the grand prize. It also proves a point: work stands out when it engages the themes closest to you — that connection gives depth no tourist's view can reach (at 8:41 in the video).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"巴西摄影师 Lucas Lenci 的《Inattention Era》拍摄了一系列空荡荡的公共空间与巨幅 LED 广告：当感官每天处于持续超载，这些空间隐喻着人们无法处理的信息洪流。不过 Thomas 也提出了自己的保留意见——讲座、球场记分牌这些画面其实是人们需要的信息，放进「信息过载」的主题里略有偏离，为了组图的丰富而扩张选题并不总是加分（视频 10:27 处）。","xe":"The Brazilian photographer Lucas Lenci's 'Inattention Era' pictures empty public spaces and giant LED advertising: when the senses are permanently overloaded, such spaces become metaphors for information we cannot process. Thomas does offer a caveat, though — lecture halls and stadium scoreboards show information people actually need, a slight drift from the 'overload' theme; expanding a series for variety's sake is not always a plus (at 10:27 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"《Paradise Lost》（失乐园）出自 1988 年出生的委内瑞拉摄影师 Adriana Loureiro Fernández：她用大约十年长期拍摄自己的国家，贫困、通货膨胀与无处不在的暴力困扰着当地人，而在如此困难的境地中，她也拍出了人们对土地与家园深深的依恋（视频 11:38 处）。","xe":"'Paradise Lost' is by Adriana Loureiro Fernández, born in 1988 in Venezuela: over roughly ten years she photographed her own country — poverty, inflation and ubiquitous violence pressing on daily life — yet within these hardships she also captured people's deep attachment to their land and home (at 11:38 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 生态之殇与大奖预测","xe":"05 Ecological Wounds and the Prize Predictions"},{"t":"p","x":"接下来的几组作品把镜头对准生态：Sara Meneses 拍摄墨西哥的一座休眠火山，非法砍伐与外来物种入侵严重破坏了山坡的树林——对信奉森林神圣的当地人来说，被动摇的不只是环境，还有世界观与生活；Davide Monteleone 的《Critical Minerals》追踪铜锂等关键矿产的原产地智利、刚果与印度尼西亚，追问新能源产业在原产地留下的环境代价——如何不重蹈覆辙地走向可持续未来，正是这些作品的共同提问（视频 12:52 处）。","xe":"The next series turn their lenses on ecology: Sara Meneses photographs a dormant Mexican volcano where illegal logging and invasive species have ravaged the slopes — for locals who hold the forest sacred, what is shaken is not just the environment but a worldview and a way of life; Davide Monteleone's 'Critical Minerals' traces copper and lithium to Chile, the Congo and Indonesia, asking what price the new-energy industry exacts at its sources — how to build a sustainable future without repeating old mistakes is the question these works share (at 12:52 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"来自德国的 Ingmar Björn Nolting（1995 年出生）聚焦德国 2045 年碳中和目标引发的一系列社会变革与冲突：环境在遭受破坏，而转向可持续能源的过程本身也在引发抗议、产业震荡与社会的分裂。Thomas 特别推崇它多面的呈现方式——不要只从一个方向断言好坏，而是像这位摄影师一样完成一次复杂的呈现（视频 13:36 处）。","xe":"Ingmar Björn Nolting from Germany (born 1995) focuses on the social changes and conflicts stirred by Germany's 2045 carbon-neutrality goal: the environment is being damaged, yet the transition to sustainable energy itself sparks protests, industrial upheaval and social division. Thomas especially admires its many-sided presentation — don't assert good or bad from a single direction; deliver, as this photographer does, a complicated portrait (at 13:36 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"最后一组《It's All in My Head》来自尼日利亚的 Etinosa Yvonne：她用后期拼贴与多重曝光，把经历过暴力和恐怖主义的人物的头像，与空镜或情绪化的场景叠加在一起——有人家人被恐怖分子杀害，有人被指控施行巫术而遭社群孤立。这些肖像既是创伤的证据，也是他们在艰难社会中向上生存的证明（视频 15:05 处）。","xe":"The final series, 'It's All in My Head' by Nigeria's Etinosa Yvonne, uses collage and multiple exposure to layer the portraits of survivors of violence and terrorism over empty scenes or emotive landscapes — some lost family to terrorists, others were accused of witchcraft and ostracized. The portraits are at once evidence of trauma and testimony to their struggle to carry on (at 15:05 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"预测环节：今年明显的风向是两组关于气候变暖与新能源产业的作品进入最终决选，而且不同于前两年对新能源的正面礼赞，今年瞄准的是产业的负面影响与复杂议题——艺术与时代大环境密不可分。同时，摩尔多瓦《Homeland》等几组技术与情感俱佳的作品，也被 Thomas 视为角逐大奖与新人奖的有力竞争者（视频 16:03 处）。","xe":"The prediction: this year's obvious direction is two series on climate change and the new-energy industry reaching the final round — and unlike the celebratory takes of recent years, they aim at the industry's negative impacts and complicated questions — art is inseparable from its moment. Meanwhile series like 'Homeland' from Moldova, strong in both craft and emotion, are Thomas's picks to contend for the grand prize and the newcomer award (at 16:03 in the video).","b":false},{"t":"quote","x":"1. 组图叙事是巴纳克奖的核心竞争力——一组照片要能完整讲一个故事；2. 拍自己最有连接的题材：快递员的儿子拍快递员，留守儿童拍留守儿童；3. 冲突未必拍冲突——流离失所者的生活比战场更能传达战争的残酷；4. 色彩永远服务于叙事：伊朗的高饱和与南高加索的低饱和，是同一种克制。","xe":"1. Series storytelling is the Barnack Award's core strength — a set of photos must tell one complete story; 2. Shoot what you're connected to: a courier's son photographs couriers, a left-behind child photographs left-behind children; 3. To show conflict, don't shoot the fighting — displaced lives convey war's cruelty better than battlefields; 4. Color always serves the story: Iran's high saturation and the Caucasus' low saturation are the same restraint."},{"t":"h","x":"全部教程列表：","xe":"Full tutorial list:"},{"t":"h","x":"全部摄影教程目录 (2024.4.16更新)","xe":"Complete Photography Tutorial Index (updated 2024.4.16)"},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Ax4y1x7uG/","b":false,"xe":"https://www.bilibili.com/video/BV1Ax4y1x7uG/"},{"t":"h","x":"作品赏析","xe":"Works Appreciation"},{"t":"p","x":"Tong Niu：Express Delivery","b":false,"xe":"Tong Niu：Express Delivery"},{"t":"img","f":"img-02","w":640,"h":800},{"t":"img","f":"img-03","w":1000,"h":800},{"t":"img","f":"img-04","w":1000,"h":800},{"t":"img","f":"img-05","w":638,"h":800},{"t":"img","f":"img-06","w":640,"h":800},{"t":"img","f":"img-07","w":638,"h":800},{"t":"img","f":"img-08","w":638,"h":800},{"t":"img","f":"img-09","w":1000,"h":800},{"t":"img","f":"img-10","w":1000,"h":800},{"t":"img","f":"img-11","w":640,"h":800},{"t":"img","f":"img-12","w":1000,"h":800},{"t":"img","f":"img-13","w":1004,"h":800},{"t":"img","f":"img-14","w":1000,"h":800},{"t":"img","f":"img-15","w":1000,"h":800},{"t":"img","f":"img-16","w":1000,"h":800},{"t":"img","f":"img-17","w":1000,"h":800},{"t":"img","f":"img-18","w":1000,"h":800},{"t":"img","f":"img-19","w":1001,"h":800},{"t":"img","f":"img-20","w":1000,"h":800},{"t":"img","f":"img-21","w":1000,"h":800},{"t":"p","x":"Maria Guțu：Homeland","b":false,"xe":"Maria Guțu：Homeland"},{"t":"img","f":"img-22","w":800,"h":800},{"t":"img","f":"img-23","w":800,"h":800},{"t":"img","f":"img-24","w":800,"h":800},{"t":"img","f":"img-25","w":800,"h":800},{"t":"img","f":"img-26","w":800,"h":800},{"t":"img","f":"img-27","w":800,"h":800},{"t":"img","f":"img-28","w":800,"h":800},{"t":"img","f":"img-29","w":800,"h":800},{"t":"img","f":"img-30","w":800,"h":800},{"t":"img","f":"img-31","w":800,"h":800},{"t":"img","f":"img-32","w":800,"h":800},{"t":"img","f":"img-33","w":800,"h":800},{"t":"img","f":"img-34","w":800,"h":800},{"t":"img","f":"img-35","w":800,"h":800},{"t":"img","f":"img-36","w":800,"h":800},{"t":"img","f":"img-37","w":800,"h":800},{"t":"img","f":"img-38","w":800,"h":800},{"t":"img","f":"img-39","w":800,"h":800},{"t":"img","f":"img-40","w":800,"h":800},{"t":"p","x":"Ingmar Björn Nolting：An Anthology of Changing Climate","b":false,"xe":"Ingmar Björn Nolting：An Anthology of Changing 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