玛格南摄影师 Ilkka Uimonen& John Vink& Burt Glinn

前年的时候心血来潮把玛格南主页上介绍摄影师的个人资料翻译了几个，在无忌上发过，在这里重发一下。

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[b][color=red]Ilkka Uimonen[/color][/b]

选择这小子主要是发现他25岁才开始摸相机，给了我莫大的鼓励和诱惑
随便乱翻译的，凑合看一下吧，有什么翻译的错误还望海涵。括号里的是我自己找的一点背景材料。

Finnish, b. 1966 [b][color=darkslategray]芬兰人，1966年出生。[/color][/b]

Ilkka Uimonen grew up in the small town of Rovaniemi, just south of the Arctic Circle. After high school, he began to travel extensively throughout the United States, Europe, and Asia, working odd jobs to pay his way. When he was 25, he found a camera in a London pub where he was working. Thus began his career as a photojournalist. He later enrolled in the Royal Academy of Fine Arts in The Hague, in Netherlands, and in 1993 began freelancing for local and national newspapers.

[b][color=darkslategray]芬兰小伙Ilkka Uimonen 出生在紧靠北极圈偏南一点的一个隶属罗瓦涅米的小镇（罗瓦涅米市简介，罗瓦涅米旅游介绍）。高中毕业后这小子游历四方，一边打打零工一边游遍了美国、欧洲和亚洲。25岁的时候在伦敦工作的酒吧里得到一台相机，然后就开始了摄影师的生涯。不久后到位于荷兰海牙的荷兰海牙皇家艺术学院上学，并于1993年成为为地区和国家报纸服务的自由摄影师。[/color]
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In the mid-1990s, Uimonen returned to New York and participated in a workshop at the International Center of Photography. He then took part in the Eddie Adams workshop, where he met Elaine Laffont, president of the Sygma Photo News agency, who offered him work in New York.

[b][color=darkslategray]九十年代中期，Uimonen 回到纽约加入了国际摄影中心的一个工作室。而后加入Eddie Adams的工作室（他就是拍那个在街头枪决北越间谍的摄影师）并结识了Elaine Laffont--西格玛新闻图片社的头儿，Elaine Laffont给他在纽约找了个活儿。
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Uimonen has spent considerable time in Serbia, arriving in Yugoslavia in 1999 three days before NATO air strikes began. He stayed eight weeks, until his visa extension request was denied and he was forced to leave.

[b][color=darkslategray]Uimonen 在塞尔维亚呆了不少时间后于1999年到达南斯拉夫，仅三天后北约开始空袭轰炸。在那里他呆了八个星期，直到他签证延期的要求被拒然后被强行遣返。
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Afghanistan has also been a focus of Uimonen’s work. He first visited the country in 1996, and spoke of the extreme destruction of the land, and of the deplorable living conditions of its people. Later, he visited the central Afghanistan region of Hazarajat, documenting the famine that arose when Northern Alliance forces blocked food deliveries to the ethnic Hazara people – whom they accused of collaborating with the Taliban – and because UN aid could rarely get through to the mountainous region.

[color=darkslategray][b]阿富汗也是Uimonen关注过的地区。他第一次去阿富汗是1996年，记录了这片土地的毁灭和当地人民凄惨的生活。不久后他来到阿富汗的中部地区哈扎拉贾特[/b]（[i]哈扎拉人(Hazaras)是成吉思汗的后裔。17世纪，阿富汗中部的哈扎拉地区（Hazarajat）被波斯湾帝国占领。当时该地区正皈依什叶派伊斯兰。在阿富汗，哈扎拉人总是受苦受难最深的，他们在政治、经济、文化和宗教领域完全被边缘化。在塔利班统治之下，他们一批批被屠杀，因为塔利班是沙特瓦哈比主义在阿富汗的代理人：那是伊朗与沙特在阿富汗心脏地带激烈竞争的生动例子，就像亲巴基斯坦的普什图人与亲伊朗的哈扎拉人之间的竞争一样。哈扎拉人占阿富汗总人口的16％。德黑兰将他们当作后塔利班时期阿富汗的一股重要政治势力而给予支援。但跟以往一样，它并未被划进“什叶派新月”[/i]），[b]记录因北部联盟切断给异族哈扎拉人--他们被指控与塔利班勾结--的食物供给后造成的食物短缺，因为联合国的援助很难通过山区。[/b][/color]

Uimonen has also spent much time working in Palestine and Israel, traveling to Jerusalem on September 25, 2000 to photograph in the Old City. Three days later, Ariel Sharon visited the Temple Mount and the Al-Aqsa mosque, in what seemed to the watching world to be a flagrant disregard for the sensitivities of the Palestinians. As the vehemence escalated, Uimonen sought out flashpoints on both sides, following the cycle of violence as it moved from one location to the next. The images were published in a book Cycles, a sequence of 61 photographs of the combatants and the innocents, presented without any discernable chronology.

[b][color=darkslategray]Uimonen 在巴勒斯坦和以色列也呆了很久。他于2000年9月25日抵达耶路撒冷拍摄老城，三天后沙龙探访圣殿山和山上的阿克萨清真寺，此举被外界视为对敏感的巴勒斯坦人的极端漠视。随着愤怒的不断升级，Uimonen注意到暴力冲突四处，巴以双方的对峙一触即发。在巴以的照片发表在《Cycles》一书里，这是一组61张关于战斗者和无辜受害者照片的画册，画册里的照片排列没有任何可识别的时间顺序。[/color][/b]

Uimonen is firmly established in the photojournalism world, covering stories from Indonesia to the Middle East for major American and European publications. His photographs appear in "Newsweek", "Time", "People", "National Geographic", "Foto8", and other magazines worldwide. He has been an associate member of Magnum Photos since 2002, and has received several awards for his photographs.

[b][color=darkslategray]Uimonen 在新闻摄影领域树立了自己的风格，为美国及欧洲的主流刊物如：新闻周刊，时代周刊，人物杂志，美国国家地理杂志，Foto8，等拍摄图片故事，涉及的地区从印度尼西亚直到中东。2002年，Uimonen成为玛格南图片社的准会员，他的不少作品已经为他赢得几个奖项（46届荷赛突发新闻（组照）二等奖：巴拉塔难民营，47届荷赛突发事件类(组照)三等奖）。[/color][/b]

[b][color=#000080][color=blue]John Vink[/color]
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Belgian, b. 1948[color=navy] [b]比利时人，1948年出生
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John Vink studied photography at the fine arts school of La Cambre in Brussels, in 1968. He has been a freelance journalist since 1971.

[b][color=navy]John Vink于1968年开始在布鲁塞尔La Cambre艺术学院学习摄影，1971年后成为自由新闻记者。[/color][/b]

Like several photojournalists who came to maturity in the 80s, Vink became impatient with the apocalyptic stories published in magazines about the developing world. Instead of thinking of history in b&w terms, Vink reconceptualizes the coverage of other, "foreign" places, revealing that their cultures are already familiar to the viewer, because they're part of the total fabric of the world. The photographer, just another participant in the daily round, plays the important role of making introductions.

[b][color=navy]像许多摄影记者一样，Vink于八十年代走向成熟期。他开始对为杂志拍摄发展中国家的动乱故事变得毫无兴趣。不愿用黑白拍摄历史事件，Vink让新闻报道的其他方面有了新的定义--“外国的”地区--去揭示外面世界的文化与读者的是多么的相似，因为他们同属一个世界，本是同根生。而摄影师，虽然只是做做日常工作，却在介绍彼此方面起到了一个重要的作用。[/color][/b]


Since the mid-1980s, Vink has dedicated much time to long-term projects, the first of which was on Italy, between 1984 and 1988. Vink came to public attention in 1986 when he was awarded the prestigious W. Eugene Smith Award in Humanistic Photography for “Waters in Sahel,” a two-year documentary project on water management involving migrant and sedentary populations of the Niger, Mali, Burkina-Faso and Senegal.

[b][color=navy]八十年代中期以后，Vink在几个长期拍摄计划上花了大把时间。其中第一站是在意大利，从1984拍到1988年。在1986年因为“荒漠草原里的水”获得权威的尤金史密斯人文摄影奖，Vink引起了公众的广泛关注。Vink在这项纪实计划中花了两年时间拍摄尼日尔、马里、布基纳法索以及塞内加尔的季节性移民和定居者对水资源的管理。
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Vink joined the Vu agency in Paris in 1986, then from 1987 to 1993 worked on “Refugees in the World”, an extensive statement about life in the refugee camps of India, Mexico, Thailand, Pakistan, Hungary, Iraq, Malawi, Bangladesh, Turkey, Sudan, Croatia, Honduras and Angola. The series was then published in book and CD-ROM form and became the subject of an exhibit at Paris's Centre National de la Photographie. In 1993, Vink became a nominee at Magnum Photos, and a full member in 1997.

[b][color=navy]1986年Vink加入巴黎的Vu图片社，其后从1987到1993年为一个庞大计划--“世界难民”--拍摄，该计划用大量图片报道了印度、墨西哥、泰国、巴基斯坦、匈牙利、伊拉克、马拉维、孟加拉国、土耳其、苏丹、克罗地亚、洪都拉斯及安哥拉的难民营的生活状况。这一系列报道其后以书及CD-Rom的形式出版，并成为巴黎国家摄影中心的展品。1993年，Vink成为玛格南候选人，1997年成为正式成员。[/color][/b]


Until 2000, he works on Peuples d'en haut, which chronicles community life in mountainous regions of Guatemala, Laos and the Georgian Caucasus. In this work, begun in 1993, he stresses how the mountains, which make for difficult living conditions in relative isolation, have built strong people aware of their cultural identity.

[color=navy][b]直到2000年，他一直在为Peuples d'en haut一书工作（[/b]用网上法语词典翻译了一下，这书似乎应该叫[b]《山上的人》[/b]或者[b]《山地居民》），记录危地马拉、老挝及格鲁吉亚高加索的山地社区的生活。在这项起始于1993年的工作中，他着重反映了山区--虽然因为相对孤立而导致生存状况变得困难--是如何使当地人民对他们的民族特性建立强烈认知的。
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Wishing to concentrate on one country instead of continuously travelling and wanting to move away a little from the “photographic scene”, he is based in Cambodia since 2000, a country he visits since 1989. He currently mainly documents land issues all over Cambodia but also covers other social issues as well as the Khmer Rouge trial.

[color=navy][b]因为希望能把注意力集中在一个国家而不是不停的奔波，同时也希望能离“摄影场景”（[color=darkslateblue]photographic scene—[/color]不知道怎么翻译更好）稍微远点，Vink把工作重心放在了柬埔寨这个他自1989年后就不断拜访的国家。最近他主要拍摄记录了整个柬埔寨的土地问题，同时还涉及其他一些社会问题及在高棉地区的旅行。[/b][/color]

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以上是玛格南对John Vink的介绍，翻译的不好，有些地方意思不太明确，希望英语强人能更正一下，方便大家阅读。

马上就60岁的Vink老爹在拍摄题材和手法上就比Uimonen毛头小子平稳的多，关注的更多的是文化上的变化。蛮好，世界不但需要热血的小伙子冲锋陷阵记录战争的残酷，也需要文化底蕴深厚的“老头子”记录边缘文化在现代社会的发展。

[b][size=4][color=darkred]Burt Glinn[/color][/size][/b]


American, b. 1925[b][color=seagreen] 美国人，1925年出生。[/color][/b]

Born in Pittsburgh, Pennsylvania, Burt Glinn served in the United States Army in the U.S. and Germany between 1943 and 1946, before studying literature at Harvard University. While at Harvard, he edited and photographed for the "Harvard Crimson" college newspaper.

[b][color=seagreen]老头出生在宾夕法尼亚州的匹兹堡市，1943到1946年期间在美军服役，驻扎在美国及德国，兵役结束后来到哈佛大学主修文学。在哈佛上学期间，Glinn为校报"Harvard Crimson"（该报中文译名大概是[i]绯红色的哈佛[/i]，哈佛的校旗就是这种颜色）拍摄、编辑照片。
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From 1949 to 1950, Glinn worked for "Life" magazine before becoming a freelancer. In 1951, Glinn - along with Eve Arnold and Dennis Stock - became an associate member of Magnum, the first Americans to enter the young photo agency.

[b][color=seagreen]1949到1950年，Glinn为《生活》杂志工作，其后成为自由摄影师。1951年Glinn与Eve Arnold 和Dennis Stock一同成为玛格南的准会员，成为加入这个当时还很年轻的图片社的第一批美国人。[/color][/b]

Based in Seattle in the early 1950s, Glinn became a full member of Magnum in 1954 and began traveling abroad. He made his mark with spectacular color series on the South Seas, Japan, Russia, Mexico and California, each of which was published as a complete issue of "Holiday Magazine".

[b][color=seagreen]在五十年代早几年，Glinn驻扎在西雅图，1954年成为玛格南正式会员以后开始出国旅行。旅行期间他用彩色照片拍摄的南海，日本，俄罗斯，墨西哥和加利福尼亚异常出色，Glinn一举成名，上面提及的每一系列最后都被"Holiday Magazine"杂志单册出版发行。
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In collaboration with the writer Laurens van der Post, Glinn published A Portrait of all the Russias and A Portrait of Japan. His reportages have included 'A Gentleman's Paris' for "Esquire", 'Wall Street' and 'The Great Auction' for "Geo," 'The Great Cats of Kenya' for "Travel and Leisure", and a cover essay on 'The American Harvest' for "Fortune". Photo essays in magazines such as "Life" and "Paris Match" have covered the Sinai War, the U.S. Marine invasion of Lebanon, Fidel Castro's takeover of Cuba, the integration of schools in Little Rock, Arkansas, and personality profiles of Sammy Davis, Jr. and Senator Robert Kennedy. In the 1990s, he completed an extensive photo essay on the topic of medical science.

[color=seagreen][b]与作家Laurens van der Post合作，Glinn出版过《俄罗斯人像》和《日本人像》两本书。而他的报道过的故事有为《Esquire》[i]（[/i][/b][i]英国杂志《君子》，这杂志现在在国内有了中文版《时尚》）[/i][b]拍摄的《A Gentleman's Paris》[i]（[/i][/b][i]风度巴黎）[/i][b]，为《Geo》[i]（[/i][/b][i]德国国家地理杂志）[/i][b]拍摄的《Wall Street》、《The Great Auction》，为《Travel and Leisure》[i]（[/i][/b][i]旅游与休闲杂志）[/i][b]拍摄的《The Great Cats of Kenya》[i]（[/i][/b][i]肯尼亚的大型猫科动物）[/i][b]以及为《Fortune》拍摄的封面故事《The American Harvest》等。Glinn为一些大杂志社如《生活》、《Paris Match》 [/b][i]（《[/i][i]巴黎竞技画报》）[/i][b]拍摄的图片故事涵盖了西奈战争[i]（[/i][/b][i]1956年的第二次中东战争，也称苏伊士运河战争）[/i][b]，美国海军陆战队入侵黎巴嫩[i]（1958年7月）[/i]，卡斯特罗接管古巴 [i]（[/i]1959年[/b][i]）[/i][b]，阿肯色州小石城市学校的无种族隔离化[/b][i]（就是阿甘正传里演过的那段）[/i][b]，以及Sammy Davis，Jr[/b][i]（小山姆·戴维斯，1925—1990美国著名黑人表演艺术家）[/i][b]和参议员Robert Kennedy的名人档案。在九十年代，他完成了一项以医疗科技为主题的涵盖面广大的图片专题。[/b][/color]

Versatile and technically brilliant, Glinn is one of Magnum's great corporate and advertising photographers. His images have appeared in annual reports for PepsiCo, Olin, Pfizer, The Commonwealth Fund, The Markle Foundation Fund, The AXA Group and the Union Bank of Switzerland, TWA, Seagram’s Whiskey, BOAC, Chase Manhattan Bank and many others. He has received numerous awards for his editorial and commercial photography, including the Matthew Brady Award, the ‘Best Book of Photographic Reporting from Abroad’ from the Overseas Press Club and the ‘Best Print Ad of the Year’ from the Art Director's Club of New York.

[color=seagreen][b]因为老头功力深厚，多才多艺又技术出色，他已成为玛格南最伟大的商业和广告摄影师之一。他拍的照片曾在许多大企业大财团的年度报告里出现，比如百事可乐，Olin[i]（[/i][/b][i]北美一个造铜合金，弹药和氯化物和烧碱等化工产品的大企业[/i][b]）， Pfizer（[/b][i]辉瑞制药）[/i][b]， The Commonwealth Fund [i]（[/i][/b][i]英联邦基金？似乎跟私有保健系统有关）[/i][b]， The Markle Foundation Fund[i]（[/i][/b][i]马克尔基金会，似乎也是跟健康挂钩的私人基金）[/i][b]，The AXA Group[i]（[/i][/b][i]法国安盛集团，干保险的）[/i][b] 及the Union Bank of Switzerland[i]（[/i][/b][i]瑞士联合银行）[/i][b]， TWA[i]（[/i][/b][i]美国环球航空公司(Trans World Airlines)，已经停业）[/i][b]，Seagram’s Whiskey[i]（[/i][/b][i]西格拉姆公司，一家全球性的以饮料和娱乐发展为主的公司）[/i][b]， BOAC[i]（[/i][/b][i]The British Overseas Airways Corporation，英国海外航空公司。当时英国的航空公司一分为二，覆盖欧洲的是 British European Airways，简称 BEA，覆盖世界其他地方的是 British Overseas Airways Corp，BOAC，现在合二为一，成为 British Airways，简称 BA）[/i][b]， Chase Manhattan Bank[i]（[/i][/b][i]美国大通曼哈顿银行）[/i][b]等等等等。由于在商业摄影上的出色表现，Glinn赢得了数项大奖，这其中包括：Matthew Brady Award[i]（[/i][/b][i]马修布兰迪奖，马修布兰迪是美国内战时期的一摄影师）[/i][b]， 来自the Overseas Press Club[i]（[/i][/b][i]海外新闻协会或者海外新闻俱乐部）[/i][b]的the ‘Best Book of Photographic Reporting from Abroad’[i]（[/i][/b][i]海外报道摄影类最佳图书）[/i][b] 以及来自纽约的the Art Director's Club的the ‘Best Print Ad of the Year’[i]（[/i][/b][i]年度最佳印刷类广告[b]）。[/b][/i][/color]

Glinn has served as President of the American Society of Media Photographers. He was president of Magnum between 1972 and 1975, and was re-elected to the post in 1987. He currently lives in New York and is in the process of editing his retrospective.

[b][color=seagreen]Glinn曾任美国媒体摄影师协会主席，玛格南图片社主席（1972-1975，1987重新当选）。现如今Glinn生活在纽约，正在为他的作品回顾展作编辑工作。[/color][/b]

''... 并结识了Elaine Laffont--西格玛新闻图片社的[b]头儿[/b]，Elaine Laffont给他在纽约找了个[b]活儿[/b]。...''

哈哈 翻译得不错啊!

[size=4][color=orange][b]Behind the image: My birthday present from Henri[/b][/color][/size]
[b][color=plum][color=darkorchid]Martine Franck[/color]
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[attach]32972[/attach]

It was my birthday and Henri asked me what I would like as a present and I told him that I would be so happy if he would make an autoportrait of himself in drawing. He went straight to work. He sat on our bed with a mirror posed in front of himself, I was literally lying back watching him when all of a sudden I saw the triple image that ensued. I slipped away to grab my Leica M3 with a 35mm lens, he was so concentrated and focused on what he was doing that I don't think he even realised that I had photographed him.

I did not publish the photograph until his 90th birthday when Ferdinando Scianna persuaded him to allow me to publish a selection of "snapshots" I had made of him over the years.

Even I was wary of photographing Henri as I knew he did not really like it. Then one day he asked me to make a passport photograph of himself and from then on it was a joke between us: "Just a passport photo."


[b][size=4][color=darkorange]照片背后的故事：亨利给我的生日礼物[/color][/size][/b]
[size=4][color=#ff8c00][/color][/size][b][color=#9932cc]Martine Franck[/color][/b]

[b][color=darkslategray]那天正好是我的生日，亨利（布列松）问我想要个什么礼物，我说如果他能画一张自画像的话我会非常高兴的。听到后他马上拿起笔去作画。他坐在我们的床边在面前摆上一面镜子，而我就站在他背后看他画，突然我发现三个他的形象同时出现了。我俏俏溜走抓起我那装着35mm镜头的徕卡M3……当时他的注意力全集中在画画上所以我觉得他甚至不知道我已经拍了他。

这张照片我一直没有发表，直到他90岁生日的时候，Ferdinando Scianna 说服他同意我发表一些常年积累的他的“抓拍照”，这张照片才得以公开。

即便是我也需要非常谨慎的去拍摄亨利，因为我知道他不喜欢被拍。不过有一天他让我给他拍一张护照照，于是从那起“只拍一张大头像”成了我和他之间的一个常开的玩笑。[/color][/b]
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Martine Franck是亨利布列松的遗孀，同时也是玛格南的摄影师，这里其他帖子有关于她的介绍。

[[i] 本帖最后由 雨齐 于 2008-1-26 13:13 编辑 [/i]]

[b][size=4][color=darkgreen]It's That Time of Year Again[/color][/size][/b]
[color=olive][b]Peter Marlow[/b][/color]

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I have just spent an hour and a half with a saw and many plastic rubbish bags clearing up the family Christmas tree at home in London. Not my favorite job, as my children, safely out of the way at school, think we have same tree, called "Charlie", each year. "Charlie" gets collected after Christmas and sent to Scotland to be re planted, so each year it has to come back bigger, and this year, at three metres plus, it was almost impossible to transport it up the stairs!
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It is also at this time of year that the area I live in in London is dotted with abandoned trees simply dumped on the street to be collected and re-cycled by the local council. In 2005 I made a short collection of pictures of this phenomenon, which is I am sure repeated all over the world.
I hope my children don't read the Magnum Blog!


[b][size=4][color=darkgreen]又是一年弃树时[/color][/size][/b]
[b][color=#808000]Peter Marlow[/color][/b]

[color=seagreen]我刚刚花了一个半小时用锯子和一堆塑料垃圾袋清理了伦敦家里的圣诞树。这实在不是我愿干的活儿，因为我那些在学校就有点特立独行的孩子们一直认为我们家每年都用同一棵叫“查理”的树。每次圣诞过后，“查理”会被收走然后送到苏格兰重新种起来，所以每年被送回来的时候都必定大一些。而今年，长到三米多高的查理已经几乎不可能被运到楼上了！

每年到了这时候，我在伦敦的家附近都遍布被丢弃的圣诞树，他们被直接丢在街边等着社区派人来回收。2005年的时候我拍了个关于这种现象的小集子，我确信这情景在全世界都在发生着。
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[color=seagreen]但愿我的孩子不会来看马格南博客！[/color]
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哎？绿了:lol ，多谢版主给亮:victory:
上一篇彼得马洛的圣诞树吧，虽然有些过时了。文章很有趣儿，开始的时候我也真的以为他家几年来一直用同一棵树装饰圣诞呢，比自己的孩子们更认真的是可怜的彼得，为了骗过他们，每年都要定一颗更大的树:L （has to come back bigger），真是太逗了。

Burt Glinn去世了:(

是啊,老头走好!:(

:loveliness: 被丢弃的耶诞树还真孤单呢