{"slug":"world-press-2024-china-winner","title":"中国摄影师获奖！2024年荷赛精选照片解读、学习与思考！","author":"Thomas看看世界","date":"2024-04-07","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499594&idx=1&sn=76771a1f736a9d2543162d647ccef7fe&chksm=eb82012edcf588382c36f7f59297e52ec4f7fdb67d14d2cac4eddab70e69b3a03c1bd0f61507&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今年的世界新闻摄影比赛（荷赛）中，中国摄影师王乃功的《与你在一起》获得了亚洲长期项目大奖！","b":false,"xe":"In this year's World Press Photo Contest, Chinese photographer Wang Naigong's \"Being with You\" (《与你在一起》) won the Asia Long-Term Project Award!"},{"t":"p","x":"今天Thomas就会对一些获奖作品进行解读，看看摄影师们是如何用克制vs夸张，抓拍vs摆拍，隐喻vs直接等丰富手段，呈现出一个个精彩的故事和发人深省的议题的。","b":false,"xe":"Today Thomas will interpret some of the winning works, seeing how photographers use rich means like restraint vs. exaggeration, candid vs. staged, and metaphor vs. directness to present wonderful stories and thought-provoking issues."},{"t":"p","x":"不仅是对于纪实摄影，对于人像摄影和风景摄影爱好者而言，这些编辑技巧和拍摄手法也都很有启发！","b":false,"xe":"Not only for documentary photography, but also for portrait photography and landscape photography enthusiasts, these editing techniques and shooting methods are very inspiring!"},{"t":"img","f":"img-01","w":1080,"h":771},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Zr421x7mX","bpic":"bili-1","bt":"中国摄影师获奖！2024年荷赛精选照片解读、学习与思考！"},{"t":"p","x":"这一篇是上面视频的图文整理。2024 年荷赛（世界新闻摄影比赛）获奖名单公布后，Thomas 精选了亚洲区的四组核心获奖作品进行解读——其中包括中国摄影师王乃功斩获长期项目大奖的《和你在一起》。四组作品恰好代表纪实摄影的四种方向：克制与尊重、直接与震撼、摆拍与隐喻、符号与特殊效果，对纪实、人像甚至风景摄影都很有启发。","xe":"This article is the illustrated companion to the video above: after the 2024 World Press Photo winners were announced, Thomas selected four core winning works from the Asia region for analysis — including \"I Am Still With You\" by Chinese photographer Wang Naigong, winner of the Long-Term Project Award. The four works represent four directions of documentary photography: restraint and respect, directness and impact, staging and metaphor, symbols and special effects — inspiring for documentary, portrait and even landscape photographers.","b":false},{"t":"p","x":"先看总览。下面这张要点页截自视频 1:08 处，概括了四组作品的共性与特性：共性是主题重要、有深度且具有普世性，画面精心构建、组图编辑高质量；特性则分别是——单幅大奖：克制、尊重；图片故事奖：直接、震撼；长期项目奖：摆拍、隐喻、诗意；开放形式奖：符号、特殊效果。下文逐一展开。","xe":"Start with the overview. This summary slide, captured at 1:08 in the video, lays out the shared traits and individual characters of the four works: all tackle important, deep and universal subjects with carefully constructed frames and high-quality story editing; their characters differ — Singles winner: restraint and respect; Story winner: directness and impact; Long-Term Project winner: staging, metaphor and poetry; Open Format winner: symbols and special effects. Each is unpacked below.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 四组作品，四种方向","xe":"01 Four Works, Four Directions"},{"t":"p","x":"作为新闻摄影比赛，荷赛获奖作品的主题都是非常重要的议题，而且有深度，更重要的是具有一定的普世性——拍的是亚洲某一个国家的问题，但这个问题在全世界、甚至在人类历史中都共同存在（视频 1:01 处）。画面本身也都被精心构建，组图的编辑质量极高。","xe":"As a photojournalism contest, World Press Photo winners all tackle deeply important subjects with depth and — crucially — universality: they photograph a problem of one Asian country, yet one that exists across the world and throughout human history (at 1:01). Every frame is carefully constructed, and the story editing is of the highest quality.","b":false},{"t":"p","x":"四组作品各有特性（视频 1:09 处）：单幅大奖拍摄战争与冲突的加沙；图片故事奖拍摄饥荒与贫穷的阿富汗；中国摄影师王乃功的获奖作品展现生命与死亡、亲密关系的议题；开放形式奖则聚焦日本的老龄化社会与失智症。它们分别代表了纪实摄影不同的拍摄方向。","xe":"Each of the four has its own character (at 1:09): the Singles winner photographed war and conflict in Gaza; the Story winner photographed famine and poverty in Afghanistan; the winning work by Chinese photographer Wang Naigong addresses life and death, and intimate relationships; the Open Format winner focuses on Japan's aging society and dementia. Together they represent distinct directions of documentary photography.","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"h","x":"02 《和你在一起》：真实的摆拍","xe":"02 I Am Still With You: Honest Staging"},{"t":"p","x":"长期项目奖由锦州摄影师王乃功获得。她的《和你在一起》（I Am Still With You）从 2019 年开始跟踪拍摄，用大画幅相机记录了年轻的三个孩子的妈妈九儿罹患癌症后，与家人相处的最后时光——她坦然甚至乐观地接受生命的凋零，与家人的互动真实而动人（视频 2:18 处）。","xe":"The Long-Term Project Award went to Wang Naigong, a photographer from Jinzhou. In \"I Am Still With You\", she followed her subject from 2019, using a large-format camera to document the final period Jiu'er — a young mother of three with terminal cancer — spent with her family: facing the fading of her life with calm and even optimism, her interactions with her family honest and moving (at 2:18).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"大画幅相机非常庞大醒目，拍一张照片需要设置参数、需要时间，这组照片明显用到了摆拍。Thomas 指出，纪实摄影中摆拍很多时候难以避免：特别是在狭小的空间里，被摄者必然意识到相机的存在，表现或多或少会不自然，这时你怎么引导，其实已经进入摆拍的范畴（视频 3:25 处）。而荷赛规定得非常明确——摆拍必须是「真实的摆拍」：你表现的场景、表现的情感是真的，不是假的。","xe":"A large-format camera is big and conspicuous; every frame demands settings and time, so this series clearly uses staged shots. Thomas points out that in documentary photography staging is often unavoidable: in confined spaces the subject is bound to notice the camera and will perform somewhat unnaturally, so the moment you direct them you are already staging (at 3:25). World Press Photo's rule is explicit — staging must be honest staging: the scene and the emotion you portray must be real, not fabricated.","b":false},{"t":"p","x":"反例是哈姆丹国际摄影奖（HIPA）曾获奖的一张教室照片（视频 3:56 处）：孩子在干裂的土墙上写板书——土墙根本写不上、也擦不掉，正规黑板并不贵；正常上课桌椅本可以坐得下右侧的两个人，身上还刻意绑着个孩子。纯粹为了视觉效果虚构场景、虚构情绪、虚构故事，这样的虚假摆拍饱受批判。","xe":"The counter-example is a classroom photo once awarded by the Hamdan International Photography Award (HIPA) (at 3:56): a child writes on a dried-mud wall — chalk neither marks nor erases on such a wall, and a proper blackboard is not expensive; in a normal class the desks could seat the two people on the right, and the child strapped to someone's back is placed deliberately. Invented scene, invented emotion, invented story, purely for visual effect — such fake staging drew wide criticism.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"对比《和你在一起》里的「真实摆拍」：每位化疗病人都会照镜子，摄影师只需要选取合适的角度和位置去呈现，人物面对脱发、衰老与病态时的情感流露是真实的，透过眼神就能很好地传达（视频 4:34 处）。","xe":"Compare that with the honest staging in \"I Am Still With You\": every chemotherapy patient looks in the mirror; the photographer only needs to choose the right angle and position, and the emotion of confronting hair loss, aging and sickness is entirely real, conveyed powerfully through the eyes (at 4:34).","b":false},{"t":"p","x":"再比如买鱼放生那张：摄影师先構好角度，再通过引导让九儿看着这条鱼慢慢进入状态，从而流露出非常真实自然的情感（视频 5:03 处）。这张照片还有一层对比的力量——鱼即将回归大自然，而她本人却在慢慢走入死亡。真实的摆拍，是非常有力量感的。","xe":"Take the fish-release photo: the photographer set up the angle first, then gently guided Jiu'er to watch the fish until she slipped into the moment, letting genuine, natural emotion surface (at 5:03). The frame also carries the power of contrast — the fish is about to return to nature, while she herself is walking slowly toward death. Honest staging has real force.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 隐喻的力量与诗意的编辑","xe":"03 The Power of Metaphor and Poetic Editing"},{"t":"p","x":"这组作品带来的另一重启示，是隐喻的力量（视频 5:41 处）。传统新闻照片很少这样表现病痛，而这组作品拍了一只腐烂的苹果——图片说明写着：2020 年底，手术后一年，确诊癌细胞已扩散至九儿全身。要表现癌细胞扩散，我们最直观想到的可能是拍诊断书、拍她与医生交谈的过程；摄影师用一只腐烂的苹果去展示，非常克制、非常诗意，同时留下大量想象与思考的空间。","xe":"The series offers another lesson: the power of metaphor (at 5:41). Traditional news photos rarely portray illness this way, yet here it is a rotting apple — its caption reads: at the end of 2020, a year after her surgery, tests confirmed the cancer had spread throughout Jiu'er's body. To show that spread, the obvious choice would be the diagnosis sheet or a conversation with the doctor; instead the photographer shows a rotting apple — deeply restrained, deeply poetic, and open to endless reflection.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"隐喻带来了多重解读的空间。九儿信奉佛教，相信过程是虚幻的、结果都是命中注定（视频 6:20 处）；画面旁的虚幻光影，你也可以解读成人们寄托于宗教，但宗教毕竟不现实，最终还是要独自面对死亡。当照片里经常出现隐喻，观看者就会对每一个细节、每一个符号做出解读，甚至过度解读——这也让你的照片更有魅力。","xe":"Metaphor opens the image to many readings. Jiu'er believed in Buddhism, trusting that the process is illusory and the outcome destined (at 6:20); the blurred glow beside her could equally be read as people taking refuge in religion, only to finally face death alone. When metaphor appears regularly in your work, viewers start reading every detail, every symbol — even over-reading — and that makes your photos more compelling.","b":false},{"t":"p","x":"这位摄影师的组图编辑也非常有诗意（视频 7:19 处）。表现九儿最终离世，她没有用直接的镜头：前面拍过放生的鱼——鱼回归自然，正如人死亡后化成一个个原子回归自然——形成意象上的呼应；原本九儿和亲人在房间中的照片，如今变成一个空洞的房间。克制的对比，胜过千言万语。","xe":"The story editing is deeply poetic too (at 7:19). To convey Jiu'er's passing she avoided direct imagery: earlier came the fish-release photo — the fish returning to nature, just as we return to nature atom by atom after death — an echo of imagery; and the room that once held Jiu'er and her family now stands empty. Restrained contrast says more than words ever could.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"评委评语同样写道（视频 7:53 处）：评委会被这个情感浓烈的项目打动——它记录了一位母亲勇敢地决定与摄影师分享自己的日常，为家人留下持久的记忆；通过合作，它挑战了刻板印象，凸显了亲密人际关系中恒久的联结，让我们得以罕见地窥见一个中国家庭的生活；那些亲密而人性化的肖像，传递着面对死亡时的爱与骄傲。","xe":"The jury's citation reads (at 7:53): the jury was moved by this emotional project, in which a mother bravely decided to share her daily life with the photographer, leaving a lasting memory for her family; through collaboration it challenges stereotypes and highlights the enduring nature of intimate human connection, offering a rare glimpse into the life of a Chinese family; its intimate, humanizing portraits convey messages of love and pride in facing mortality.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 开放形式：形式与内容的统一","xe":"04 Open Format: When Form Meets Content"},{"t":"p","x":"开放形式类是荷赛唯一允许大幅度后期、允许各种前期摆拍与天马行空手段的类别——可以改变像素、做任何后期操作，只要背后所表现的新闻事实是真实的，表现形式不做限制（视频 8:00 处）。今年的亚洲区开放形式奖由日本摄影师 Kazuhiko Matsumura 的《Heartstrings》获得，关注的是老龄化社会中的失智症问题。","xe":"Open Format is the only World Press Photo category that allows extensive post-processing — pixel manipulation, any digital operation — and unlimited staging up front: as long as the underlying facts are real, the form of expression is unrestricted (at 8:00). This year's Asia Open Format winner is \"Heartstrings\" by Japanese photographer Kazuhiko Matsumura, addressing dementia in an aging society.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"Thomas 认为这组作品做得最好的一点，是形式和内容的高度统一（视频 9:07 处）。表现患者突然不知道自己身在何处，就用干冰的烟雾模糊画面下半部；表现患者分不清白天与黑夜、对光线和时间的感知变弱，就有了路灯与太阳重叠的街道；表现大脑一片空白、仿佛灵魂出窍，就用闪光灯过爆制造虚幻的效果；而模糊的老家庭照片，是因为患者已经认不得照片里的亲人（视频 9:57 处）。","xe":"Thomas considers the series' greatest strength to be the complete unity of form and content (at 9:07). To show a patient suddenly not knowing where they are, dry-ice smoke blurs the lower half of the frame; to show losing the sense of day and night, of light and time, a street where streetlamp and sun overlap; to show the mind going blank, like the soul leaving the body, blown-out flash creates an unreal glow; and an old family photo is blurred because the patient can no longer recognize the people in it (at 9:57).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"这些手法单看并不新鲜——翻翻社交平台，很多摄影师都这么拍，但大多只是觉得这样很酷。而这组作品的每一次模糊与过曝，都对应着失智症患者的真实感受，让观者仿佛也患上了这种病症，产生感同身受的震撼（视频 10:40 处）。这种形式与内容的高度统一，正是它获奖的关键，也非常值得我们学习。","xe":"None of these techniques is new on its own — scroll social media and many photographers shoot this way, mostly because it looks cool. Here, however, every blur and every blow-out corresponds to the real sensation of living with dementia, making viewers feel as if they had the illness themselves (at 10:40). That unity of form and content is precisely why it won — and precisely what is worth learning.","b":false},{"t":"h","x":"05 克制 vs 直接","xe":"05 Restraint vs Directness"},{"t":"p","x":"亚洲区的单幅获奖作品非常直接地拍摄了巴以冲突（视频 11:11 处）：一位巴勒斯坦妇女怀抱着在空袭中遇难的孩子的遗体。它与传统战争照片很不同——看不到血腥的场面，看不到人物的表情、呐喊，也看不到复杂的战场环境，只有简洁的构图、干净的背景和几个色块。这张照片同时当选了 2024 年度世界新闻照片（Photo of the Year）。","xe":"The region's winning singles shot the Israel-Palestine conflict head-on (at 11:11): a Palestinian woman cradling the body of a child killed in an airstrike. Yet it differs from traditional war photography — no blood, no visible faces, no cries, no chaotic battlefield; only clean composition, a plain background and a few blocks of color. The same image was named the 2024 World Press Photo of the Year.","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"传统纪实摄影，比如尤金·史密斯的作品，靠直接的表情、周遭的环境与呐喊的动作给人留下深刻印象（视频 11:45 处）；而现在越来越多的作品选择间接、克制地去表现。这张加沙照片虽然克制，冲击力却不亚于任何直接呈现的照片——无论持有什么样的政治立场，每一个人都会对战争中失去亲人的悲痛感同身受（视频 12:20 处）。","xe":"Traditional documentary work, like that of W. Eugene Smith, strikes us through direct expressions, surrounding context and cries of grief (at 11:45); more and more work today chooses an indirect, restrained approach. Though restrained, this Gaza photo hits no less hard than any explicit one — whatever your political stance, the grief of losing a loved one to war reaches everyone (at 12:20).","b":false},{"t":"p","x":"与之相反，阿富汗饥荒题材的获奖组图（Ebrahim Noroozi《Afghanistan on the Edge》）的第一张选择了最直接的表达：孩子瞪大的眼睛、快要蹦出来的眼珠，对一只苹果的极度渴望（视频 12:48 处）。传统直接的冲击力让整组作品获得图片故事奖实至名归——直接与克制各有力量，关键看你的主题与表达。","xe":"At the opposite pole, the first frame of the winning Afghanistan famine story (Ebrahim Noroozi, \"Afghanistan on the Edge\") chooses the most direct expression: wide eyes nearly popping out, craving a single apple (at 12:48). That traditional, direct impact makes the story a deserved Story winner — directness and restraint each have their power; what matters is your subject and how you express it.","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"今年的四组荷赛获奖作品，包括一位中国摄影师的获奖，都非常实至名归；它们各自代表了纪实摄影不同的趋势和方向。你可以根据要拍摄的主题、或者自己擅长的方向，去选择相应的呈现方式（视频 13:39 处）。","xe":"This year's four winning works — including one by a Chinese photographer — all earned their prizes, and each represents a different trend and direction of documentary photography. Choose the form of expression that fits your subject, or the direction you do best (at 13:39).","b":false},{"t":"quote","x":"1. 选题是根本：重要、有深度且具普世性的议题，是荷赛级别作品的地基；2. 摆拍不等于虚假——场景与情感真实的摆拍，依然是纪实摄影的一部分；3. 善用隐喻与诗意的编辑，让照片拥有更多解读的空间；4. 一切形式技巧都必须与内容统一，为主题服务。","xe":"1. Subject first: important, deep and universal themes are the foundation of World Press Photo-level work; 2. Staging is not faking — staging that keeps scenes and emotions honest remains part of documentary photography; 3. Use metaphor and poetic editing to give your photos more room for interpretation; 4. Every formal technique must unite with content and serve the story."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Zr421x7mX/","b":false,"xe":"https://www.bilibili.com/video/BV1Zr421x7mX/"},{"t":"p","x":"收录了Thomas近两年作品的2024年画册级周历《看见世界2024》已经上线淘宝，欢迎大家前往人民邮电出版社淘宝店选购！","b":false,"xe":"The 2024 album-grade weekly calendar \"Seeing the World 2024\" (《看见世界2024》), which includes Thomas's works from the past two years, is now available on Taobao. Everyone is welcome to visit the People's Posts and Telecommunications Press Taobao store to purchase!"},{"t":"img","f":"img-02","w":1080,"h":698},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":1080,"h":608},{"t":"img","f":"img-05","w":1080,"h":608},{"t":"img","f":"img-06","w":1080,"h":608},{"t":"img","f":"img-07","w":1080,"h":608},{"t":"img","f":"img-08","w":1080,"h":608},{"t":"img","f":"img-09","w":1080,"h":608},{"t":"img","f":"img-10","w":1080,"h":608},{"t":"img","f":"img-11","w":1080,"h":608},{"t":"img","f":"img-12","w":1080,"h":608},{"t":"img","f":"img-13","w":1080,"h":608},{"t":"img","f":"img-14","w":1080,"h":608},{"t":"img","f":"img-15","w":1080,"h":608},{"t":"img","f":"img-16","w":1080,"h":608},{"t":"img","f":"img-17","w":1080,"h":608},{"t":"img","f":"img-18","w":1080,"h":608},{"t":"img","f":"img-19","w":1080,"h":608},{"t":"img","f":"img-20","w":1080,"h":608},{"t":"img","f":"img-21","w":1080,"h":608},{"t":"img","f":"img-22","w":1080,"h":608},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":1080,"h":608},{"t":"img","f":"img-26","w":1080,"h":608},{"t":"img","f":"img-27","w":1080,"h":608},{"t":"img","f":"img-28","w":1080,"h":608},{"t":"img","f":"img-29","w":1080,"h":608},{"t":"img","f":"img-30","w":1080,"h":608},{"t":"img","f":"img-31","w":1080,"h":608},{"t":"img","f":"img-32","w":1080,"h":608},{"t":"img","f":"img-33","w":1080,"h":608},{"t":"img","f":"img-34","w":1080,"h":608},{"t":"img","f":"img-35","w":1080,"h":608},{"t":"img","f":"img-36","w":1080,"h":608},{"t":"img","f":"img-37","w":1080,"h":608},{"t":"img","f":"img-38","w":1080,"h":608},{"t":"img","f":"img-39","w":1080,"h":608},{"t":"img","f":"img-40","w":1080,"h":608},{"t":"img","f":"img-41","w":1080,"h":608},{"t":"img","f":"img-42","w":1080,"h":608},{"t":"img","f":"img-43","w":1080,"h":608},{"t":"img","f":"img-44","w":1080,"h":608},{"t":"img","f":"img-45","w":1080,"h":608},{"t":"img","f":"img-46","w":1080,"h":608},{"t":"img","f":"img-47","w":1080,"h":608},{"t":"img","f":"img-48","w":1080,"h":608},{"t":"img","f":"img-49","w":1080,"h":608},{"t":"img","f":"img-50","w":1080,"h":608},{"t":"img","f":"img-51","w":1080,"h":608},{"t":"img","f":"img-52","w":1080,"h":608},{"t":"img","f":"img-53","w":1080,"h":608},{"t":"img","f":"img-54","w":1080,"h":608},{"t":"img","f":"img-55","w":1080,"h":608},{"t":"img","f":"img-56","w":1080,"h":608},{"t":"img","f":"img-57","w":1080,"h":608},{"t":"img","f":"img-58","w":1080,"h":608},{"t":"img","f":"img-59","w":1080,"h":608},{"t":"img","f":"img-60","w":1080,"h":608},{"t":"img","f":"img-61","w":1080,"h":608},{"t":"img","f":"img-62","w":1080,"h":608},{"t":"img","f":"img-63","w":1080,"h":608},{"t":"img","f":"img-64","w":1080,"h":608},{"t":"img","f":"img-65","w":1080,"h":608},{"t":"img","f":"img-66","w":1080,"h":608},{"t":"img","f":"img-67","w":1080,"h":608},{"t":"img","f":"img-68","w":1080,"h":608},{"t":"img","f":"img-69","w":1080,"h":608},{"t":"img","f":"img-70","w":1080,"h":608},{"t":"img","f":"img-71","w":1080,"h":608},{"t":"img","f":"img-72","w":1080,"h":608},{"t":"img","f":"img-73","w":1080,"h":608},{"t":"img","f":"img-74","w":1080,"h":608},{"t":"img","f":"img-75","w":1080,"h":608},{"t":"img","f":"img-76","w":1080,"h":608},{"t":"img","f":"img-77","w":1080,"h":608},{"t":"img","f":"img-78","w":1080,"h":608},{"t":"img","f":"img-79","w":1080,"h":608},{"t":"img","f":"img-80","w":1080,"h":608},{"t":"img","f":"img-81","w":1080,"h":608},{"t":"img","f":"img-82","w":1080,"h":608},{"t":"img","f":"img-83","w":1080,"h":608},{"t":"img","f":"img-84","w":1080,"h":608},{"t":"img","f":"img-85","w":1080,"h":608},{"t":"img","f":"img-86","w":1080,"h":608},{"t":"img","f":"img-87","w":1080,"h":608},{"t":"img","f":"img-88","w":1080,"h":608},{"t":"img","f":"img-89","w":1080,"h":608},{"t":"img","f":"img-90","w":1080,"h":608},{"t":"img","f":"img-91","w":1080,"h":608},{"t":"img","f":"img-92","w":1080,"h":608},{"t":"img","f":"img-93","w":1080,"h":608},{"t":"img","f":"img-94","w":1080,"h":608},{"t":"img","f":"img-95","w":1080,"h":608}],"titleEn":"A Chinese Photographer Won an Award! Interpretation, Learning, and Reflections on the 2024 World Press Photo Contest Selection!"}