{"slug":"world-press-2023-storytelling","title":"如何用照片讲故事？2023年荷赛现场解析年度摄影大奖背后的秘密！","author":"Thomas看看世界","date":"2024-04-07","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499594&idx=3&sn=e2d45760338a6492d6e7be3b02d23d79&chksm=eb82012edcf5883819286ec0fa6c2c6e01a5d8215e39f5ec8c43f5f27785b66d9bbd0f34c86f&scene=21#wechat_redirect","blocks":[{"t":"p","x":"如何才能用照片更好的讲故事？","b":false,"xe":"How can you tell stories better with photos?"},{"t":"p","x":"如何利用明暗、冷暖、光影、隐喻等等复杂的视觉语言去讲好故事？","b":false,"xe":"How to use complex visual languages like light-dark, warm-cool, light and shadow, and metaphor to tell stories well?"},{"t":"p","x":"在今天的摄影教程中，Thomas会带大家前往阿姆斯特丹，世界新闻摄影奖的颁奖现场，与3届荷赛年度大奖得主Mads Nissen对话，解读他的摄影大片背后的秘密。","b":false,"xe":"In today's photography tutorial, Thomas will take everyone to Amsterdam, the awards ceremony of the World Press Photo Contest, to talk with Mads Nissen, winner of three World Press Photo of the Year awards, and interpret the secrets behind his photographic masterpieces."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1AP411d7tr","bpic":"bili-1","bt":"如何用照片讲故事？荷赛现场解析年度摄影大奖背后的秘密！"},{"t":"p","x":"这一篇是上面视频的图文整理。Thomas 来到荷兰阿姆斯特丹的世界新闻摄影展（荷赛）现场，恰逢 2023 年度图片故事得主 Mads Nissen 亲自导览，于是借他这组《阿富汗和平的代价》，逐张拆解顶尖新闻摄影的视觉语言——明暗、冷暖、隐喻、神态与虚焦。这些技巧不只属于新闻摄影，人文、街头甚至风景摄影同样通用。","xe":"This article is the illustrated companion to the video above: Thomas visited the World Press Photo exhibition in Amsterdam, where Mads Nissen — winner of the 2023 World Press Photo Story of the Year — was guiding visitors in person. Using his series \"The Price of Peace in Afghanistan\", it breaks down, photo by photo, the visual language of top-tier documentary photography — light and dark, warm and cool, metaphor, expression and out-of-focus foregrounds. None of this belongs to photojournalism alone; it applies just as much to travel, street and even landscape photography.","b":false},{"t":"p","x":"先看一张信息卡。视频 1:04 处介绍了这组作品的作者 Mads Nissen，卡片列出了他与荷赛的渊源：2020、2021、2023 年三届获奖，而且三次都是年度大奖，2022 年还受邀担任评委——当今最具分量的新闻摄影师之一。","xe":"Start with an info card: at 1:04 in the video, Thomas introduces the author of the series, Mads Nissen. The card lists his World Press Photo record — a winner in 2020, 2021 and 2023, all three times taking the annual top prize, plus a jury member in 2022 — making him one of the most decorated photojournalists working today.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 现场与背景：年度图片故事的力量","xe":"01 On Site: The Power of the Story of the Year"},{"t":"p","x":"视频开头，Thomas 站在展览入口的「WORLD PRESS PHOTO」红色标志前（视频 0:02 处）。这期分享的主角，就是 2023 年荷赛「年度图片故事」——Mads Nissen 的《阿富汗和平的代价》，一组记录 2022 年阿富汗人日常生存状态的作品。","xe":"The video opens with Thomas standing before the red \"WORLD PRESS PHOTO\" sign at the exhibition entrance (at 0:02). The subject of this episode is the 2023 World Press Photo Story of the Year — Mads Nissen's \"The Price of Peace in Afghanistan\", a series documenting the daily struggle of Afghan people through 2022.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"这组照片的背景，是美国占领阿富汗 20 年后撤军、塔利班重新掌权，又因西方制裁令国际援助中断，普通人陷入极端的贫困与饥饿（视频 1:07-1:24 处快速闪过整组画面）。正片从组照第一张讲起：一张男孩肖像，背景干净、只用自然光，摄影师却花了半小时甚至更久——「因为我不重要，所有的事都在于他」，一切都围绕这个 15 岁的男孩卡利尔（视频 2:19-2:31 处）。","xe":"The series is set against this backdrop: after 20 years of American occupation the troops withdrew and the Taliban returned to power; Western sanctions cut off international aid, and ordinary people sank into extreme poverty and hunger (a rapid flash of the whole series at 1:07-1:24). The walkthrough begins with the first image: a portrait of a boy against a clean background in pure natural light, one that still took the photographer half an hour or more — \"because I don't matter; everything is about him\" — the 15-year-old Khalil (at 2:19-2:31).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"更难得的是，视频里为作品讲解的正是作者本人。视频 6:51 处，Mads Nissen 站在自己的照片前讲述拍摄经过：哪些瞬间是等来的、哪些细节是设计好的，由作者亲口道出。","xe":"What makes the video even more special is that the person explaining the work is the author himself. At 6:51, Mads Nissen stands before his own photographs recounting how they were made — which moments were waited for, which details were deliberate — straight from the photographer's mouth.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"02 隐喻与对比：大门紧锁与灯火通明的饼店","xe":"02 Metaphor and Contrast: The Locked Gate and the Bright Bakery"},{"t":"p","x":"第二张照片被 Thomas 评价为「真的就是非常绝」（视频 3:28 处）。画面左右形成多重对比：左边大门紧锁、冷色调、一片昏暗，一群披着蓝袍的妇女坐在地上祈祷；右边却是灯火通明的暖色饼店，一个中年男人正站在柜台前买饼。","xe":"The second photo is one Thomas calls \"simply brilliant\" (at 3:28). Its left and right halves form multiple layers of contrast: on the left, a locked gate in cold, dim tones with women in blue burqas sitting on the ground praying; on the right, a warm, brightly lit bakery with a middle-aged man standing at the counter buying bread.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"这些视觉元素互为隐喻：紧锁的大门与披袍的妇女互相映照，象征她们命运可能的走向；而在食物极度匮乏的环境里，站在高处、身后堆满面饼的男人，又让「食物」本身成了某种权力的象征，给观者留下巨大的思考与想象空间（视频 4:16 处）。视频还给到了这张照片的拍摄参数：32mm、f/5、1/640 秒、ISO 6400（视频 3:34 处）。","xe":"These visual elements mirror one another: the locked gate and the veiled women echo each other, hinting at where their fate may lead; and in a place of extreme food scarcity, the man standing elevated before stacks of flatbread turns food itself into a symbol of power, leaving the viewer enormous room for thought and imagination (at 4:16). The video also shows the shooting data: 32mm, f/5, 1/640 s, ISO 6400 (at 3:34).","b":false},{"t":"p","x":"摄影师在导览中透露，为了这张照片他前后来了五次：有一天现场停了辆自行车，毁掉了画面，他就第二天再来（视频 4:55 处）；一直等到乞讨的妇女最多、买饼的男人恰好走入画面，才按下快门。好照片很少是撞上的，多半是等出来的。","xe":"During the tour the photographer revealed he returned to this spot five times: one day a bicycle parked there ruined the frame, so he came back the next day (at 4:55), and he pressed the shutter only when the begging women were at their most numerous and the bread-buying man stepped into the frame at just the right moment. Great photos are rarely stumbled upon — they are waited out.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 明暗反差：一扇窗照亮的希望与残酷","xe":"03 Light Against Dark: Hope and Cruelty in One Window"},{"t":"p","x":"下一张照片拍摄的是医院里严重营养不良的新生儿（视频 5:35 处）。摄影师对场景的选择非常讲究：整个环境压得极黑，只留一扇窗户，光线打进来恰好照亮婴儿的身体——亮部带来一种希望的感觉，骨瘦如柴的身躯却又无比残酷，两种情绪在同一幅画面里对撞。参数同样简洁：28mm、f/2.8、1/160 秒、ISO 800。","xe":"The next photo shows a severely malnourished infant in a hospital (at 5:35). The choice of scene is deliberate: the room is rendered almost black, with a single window throwing light across the baby's body — the brightness suggests hope, while the skeletal frame is unbearably cruel, two emotions colliding in a single frame. The settings are just as spare: 28mm, f/2.8, 1/160 s, ISO 800.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"Thomas 借此引出一个重要观点：真正好的新闻摄影，不是随便记录然后靠文字补充说明，而要让图片自己说话（视频 5:57 处）。在视频时代，如果一张照片需要大量背景信息才能被理解，那它就称不上最优秀的新闻摄影作品；「一图胜千言」的传达力，正是照片区别于视频的核心价值。","xe":"Thomas uses this frame to make a key point: great documentary photography is not casual recording patched over by captions — the picture must speak for itself (at 5:57). In the video era, if a photo needs a wall of background information to be understood, it does not rank among the best of photojournalism; the power of \"one image worth a thousand words\" is exactly what separates a photograph from footage.","b":false},{"t":"p","x":"这个原则同样适用于街头、人文甚至风景摄影：在画面里寻找符号、寻找光影的变化，创造出与自己的情绪和表达相符合的画面（视频 6:32 处）。","xe":"The principle extends to street, travel and even landscape photography: look for symbols, for shifts of light and shadow, and build images that match your own mood and message (at 6:32).","b":false},{"t":"h","x":"04 眼神、机位与虚焦：营造不安","xe":"04 Gaze, Angle and Blur: Building Unease"},{"t":"p","x":"第四张照片的分析最为细腻（视频 7:16 处）。大多数人到了现场只会去拍摆摊的那个人，而这位摄影师会先在现场等待四五十分钟，让周围的人对他放松警惕，同时不断走动寻找最佳机位。这张照片他把相机放在胸部高度，通过翻转屏取景，才拍到前景男子凶狠的眼神——他既构成前景，也让画面的压迫感扑面而来。","xe":"The analysis of the fourth photo is the most detailed (at 7:16). Most people would simply photograph the vendor, but this photographer first spends forty to fifty minutes on site letting people relax around him, all while moving constantly to find the best vantage. Here he held the camera at chest height, framing through the flip-out screen, and so captured the fierce glare of the man in the foreground — at once a foreground element and a wave of pressure hitting the viewer.","b":false},{"t":"p","x":"另一张清真寺的照片里，对焦给了后方祈祷的人群，前景的塔利班士兵完全处于虚焦状态（视频 9:03 处）。虚影带来的动感让他显得更加凶狠；前景全是虚的，观者会感到强烈的不安——这正是摄影师想营造的情绪。Thomas 补充说，这种情绪或许带有偏见和刻板印象，但不可否认，摄影师精准传达了他想表达的意象。","xe":"In another frame inside a mosque, the focus falls on the praying crowd behind while the Taliban soldier in the foreground dissolves into blur (at 9:03). That motion blur makes him appear more menacing; with the entire foreground soft, the viewer feels a distinct unease — precisely the emotion the photographer intended. Thomas adds that this mood may carry bias and stereotype, but there is no denying the photographer conveyed exactly the impression he set out to create.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 讲好故事：全面覆盖与两种功课","xe":"05 Telling the Story: Full Coverage and Two Kinds of Homework"},{"t":"p","x":"第二个值得学习的维度，是怎么把一个故事讲完整（视频 9:40 处）。假如是我们去阿富汗拍摄，很可能落入俗套、随便扫街；而这位摄影师从拍摄到选片都极其全面：拍乞丐，拍做饭的场景，拍摆摊换取收入，也拍制作食物过程中的污染问题；妇女、儿童、老人与不同阶层的男人都有覆盖，甚至包括当下面临的新的安全问题。","xe":"The second lesson is how to tell a story completely (at 9:40). Were we to photograph Afghanistan, we would likely fall into clichés or random street snapshots; this photographer's coverage, from shooting to selection, is exhaustive: beggars, cooking scenes, vendors earning a living, pollution created in the making of food; women, children, the elderly and men of every class, even the new security threats people now face.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"每一张照片不仅视觉语言精彩，还各自代表事件的某一面，组合在一起才成为一组「非常绝」的图片故事（视频 10:29 处）。落到方法上，这位三届年度大奖得主用了两种方式：一是与当地人深入交流、取得信任之后进行深度拍摄；二是在街头找到好场景后绝不轻易收工——连续五天到场，等到人物、光线与隐喻全部到位的那一刻。","xe":"Each photo is not only visually striking but also represents one facet of the event; only combined do they form an extraordinary picture story (at 10:29). As for method, the three-time grand-prize winner works in two ways: deep immersion — building trust with locals before photographing in depth — and patient persistence in the street: once he finds a strong scene he never packs up early, returning five days in a row and waiting for the moment when people, light and metaphor all fall into place.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"Thomas 在结尾强调，用摄影的语言去讲故事非常重要——如果我们以后要把中国的故事讲出去，同样需要这样的视觉语言、这样的象征与隐喻（视频 11:42 处）。","xe":"Thomas closes by underlining the point: telling stories in the language of photography matters immensely — if we want to bring China's stories to the world, we need the same visual language, the same symbolism and metaphor (at 11:42).","b":false},{"t":"quote","x":"1. 视觉语言是讲故事的核心：明暗、冷暖、动作与神态，都可以成为叙事的句子；2. 学会用符号与隐喻——紧锁的大门、堆起的面饼，让照片自己说话，而不是靠文字补充；3. 好照片是等出来的：找到场景后反复回访，等到人物与光线全部到位；4. 讲完整的故事：一张照片承担一个侧面，组合起来才有深度。","xe":"1. Visual language is the heart of storytelling: light and dark, warm and cool, gesture and expression all become sentences of the narrative; 2. Learn to use symbols and metaphor — a locked gate, stacks of flatbread — and let the photo speak for itself instead of leaning on captions; 3. Good photos are waited for: revisit a found scene again and again until people and light align; 4. Tell the whole story: each image carries one facet, and only together do they gain depth."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1AP411d7tr/","b":false,"xe":"https://www.bilibili.com/video/BV1AP411d7tr/"},{"t":"h","x":"2023荷赛年度故事","xe":"2023 World Press Photo Story of the Year"},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"img","f":"img-02","w":1080,"h":721},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"img","f":"img-04","w":1080,"h":720},{"t":"img","f":"img-05","w":1080,"h":720},{"t":"img","f":"img-06","w":1080,"h":720},{"t":"img","f":"img-07","w":1080,"h":720},{"t":"img","f":"img-08","w":1080,"h":721},{"t":"img","f":"img-09","w":1080,"h":720},{"t":"p","x":"《阿富汗和平的代价》","b":false,"xe":"\"The Price of Peace in Afghanistan\" (《阿富汗和平的代价》)"},{"t":"p","x":"摄影师：Mads Nissen","b":false,"xe":"Photographer: Mads Nissen"},{"t":"p","x":"这个故事记录了2022年阿富汗人民的各种日常生活状态。","b":false,"xe":"This story documents the various states of daily life of the Afghan people in 2022."},{"t":"p","x":"2021年8月，美国从阿富汗撤军。塔利班武装重新掌权。此后，在2019年时占阿富汗财政收入的80%的国际援助都被制裁，属于阿富汗政府的70至90亿美元的国外资产被冻结。失去这两个收入来源，本已脆弱的阿富汗经济更加崩溃。","b":false,"xe":"In August 2021, the United States withdrew its troops from Afghanistan, and the Taliban returned to power. Since then, international aid — which made up 80% of Afghanistan's fiscal revenue in 2019 — has been sanctioned, and 7 to 9 billion US dollars of foreign assets belonging to the Afghan government have been frozen. Losing these two income sources, Afghanistan's already fragile economy collapsed further."},{"t":"p","x":"阿富汗的国内生产总值下降到2021年初峰值的25%左右。预计到2022年，97%的人口生活在贫困线以下，95%的人没有足够的食物。据联合国统计，有900万人面临饥荒风险，超过100万儿童严重营养不良。新冠肺炎疫情、严重干旱以及援助组织无法为有需要的人提供救济都加剧了危机，预计到2023年这种情况只会更加恶化。","b":false,"xe":"Afghanistan's GDP fell to about 25% of its peak in early 2021. By 2022, an estimated 97% of the population lived below the poverty line, and 95% did not have enough food. According to UN statistics, 9 million people faced the risk of famine, and more than 1 million children were severely malnourished. The COVID-19 pandemic, severe drought, and the inability of aid organizations to provide relief to those in need all exacerbated the crisis, which was expected to only worsen by 2023."},{"t":"p","x":"Mads Nissen为Politiken拍摄了这个故事。他说：“我希望这项工作能提高人们的认识，让更多人参与进来，帮助超过百万的急需食物和人道主义援助的阿富汗人。”","b":false,"xe":"Mads Nissen shot this story for Politiken. He said: \"I hope this work can raise awareness and get more people involved in helping the more than a million Afghans in urgent need of food and humanitarian aid.\""}],"titleEn":"How to Tell Stories with Photos? On-Site at the 2023 World Press Photo Contest, Analyzing the Secrets Behind the Photo of the Year!"}