玩具火车

戴维·赫恩 David Hurn

我认为在一个尊重个人观点的社会里，摄影有一种独一无二的能力可以引导，可以在理性和感性上帮助人们弄清楚，可以曝光虚伪，可以指出值得追求的理想。如果我们真的很好奇，我们就不太会去干涉，去控制，去改变，去提高。我们尊重事件，我们不去影响或是改变。在这样的程度上，主观的行动也能得到一种特殊的客观性和真实性。

I believe that in a society, where every individual opinion counts, photography at its best has a unique ability to instruct, to help make altematives intellectually and emotionally clear, to spotlight falsehood, to show ideals worth pursuing. If we are truly curious then we are less tempted to interfere, to control, to change, to improve. We have respect for the event, we do not wish to influence or alter it. To what extent this subjective activity achieves a particular kind of objectivity and a certain kind of truth.

莱昂纳德·弗里德 Leonard Freed

最终摄影是就关于“你是谁”这个问题。它是寻找关于自己的真相。寻找真相变成习惯。我认为摄影代替了宗教。宗教说，这是《圣经》，《圣经》告诉你真相。如果你相信，那它就是真相。我觉得所有人都需要一种精神，让你相信那是真相。

Ultimately photography is about who you are. It’s the seeking of truth in relation to yourself. And seeking truth becomes a habit. I think photography has become a substitute for religion. Religion says that this is the Bible and the Bible tells you the truth. And if you believe it, then it is the truth. I think all people need a certain spirituality, and it can come in any form as long as it’s what you believe is the truth.

克里斯·斯蒂尔—帕金斯 Chris Steele-Perkins

我之所以为索马里的故事而骄傲的原因是，我在叙述故事和拍照时很好地平衡了自我感情。在那里没有什么客观性，在事实面前，你就是一个人。如果你停止，那你就不是个好摄影师。那是一种强大的情绪波动，让我无法自已。但你拥有控制自己的机制，就像救护车驾驶员，你必须控制自己，因为你必须工作。我觉得我能够做到。

One of the reasons I’m proud of the [Somalia] story is because I feel I managed to balance an emotional reaction to what I saw with a rigour in the telling of the story and in the pictures. There is no objectivity and you’ve got to react as a human being to what’s in front of you. If you cease to do that, you cease to be any good. It was a powerful emotional experience that reduced me to tears at times. But there is a mechanism that you bring to bear on yourself, like an ambulance driver, where you do close some of yourself down in order to be able to work. I guess I can do that.

乔治·罗杰 George Rodger

你通过反光镜，看见美丽的，受欢迎的事物，也可能看见忧愁。你的心可能因为惊骇而暂时停止跳动，你的眼睛也可能变得暗淡。但是这些都是事实，你必须知道如何面对。

You look into your viewfinder and what you see there may be pretty and gay, or it may be sad. Your heart may stand still for the horror of it or your eyes dim in pity or in shame. But it is all reality and you must know what to do with it.

金·高米 Jean Gaumy

一张照片的精确目标是十分重要的。当我在钓鱼，看见河上的小苍蝇，大马哈鱼或是鲑鱼朝苍蝇而去，那都是一秒之内瞬间发生的。你就象个孩子接受深水处的赠品。拍摄一张好照片也是如此。它并非发生在脑中，而是在胃里。它是一种情绪。

The precise aim of a picture is so important. When I am fishing, and when I see the little fly on the river, and instinctively I see that the salmon or the trout is going for it, it’s a fraction of a second, then Tak! Your are like a child receiving a gift from the depth of the water. Making a good picture is the same thing. It is not something that happens in the brain, but in the stomach. It is an emotion.

伊夫·阿诺德 Eve Arnold

我总相信当你在拍摄某人时，你是在和他合作。你让他给予你他所愿意给予的。通常人们在我的照片中做些什么，最后他们忘记了我，我也希望他们忘记我。如果不这样，那么你会受到你的拍摄主体的影响。通常拍摄主体是主角，而非摄影师。也就是说，你受到了控制。但通常我不要被控制。我想要控制拍摄主体，因为他们会给予我一些我所不知道的关于他们的东西。

I always believe when you’re photographing somebody…it’s a collaboration. You let them give what they’re willing to give you. Usually people are doing something in my pictures, and eventually they forget about me, I hope. If not, then you use that attention the subject is giving you. It’s always the subject who’s the hero, not the photographer. By definition, you’re in control. But often I want to lose control. I want the subject to be in control, because they will give me something I couldn’t possibly know about them.

尤金·理查德 Eugene Richards

今天我比许多摄影师更怀疑影像。许多人认为他们能从照片中获得事实，但实际不是。照片只关于外形，视觉关系，或者符号。有人说“看那些肖像，那些风景和战斗现场，它们揭示了什么。”是的，他们揭示了一个人的个人经历，个人观点，个人品位和个人原则。照片是一种感觉。如果你想要得到事实，你需要文字。

Today I’m more suspicious of images than a lot of photographers. Many people think they are getting facts from photographs, but they’re not necessarily. Pictures are about shapes, bisual relationships, symbols. People say “Shit, look at those portraits, those landscapes, scenes of combat, they’re very revealing.” Yes, they’re revealing of one’s own life experience, one’s own biases, one’s own tastes, one’s own politics. Pictures are about feelings. If you want the facts, you need words.

布鲁斯·戴维森 Bluce Davidson

我开始沉溺于地铁。我记得自己躺在床上，听到七楼窗外的地铁声，我感到我的眼睛和牙齿在成长，象狼人，仿佛自己被拖进地铁。它有许多的美和意义，并呈现了许多挑战，（但是）我感到它就是那样的地方。我的家就在那里。

I became addicted to the subway. I remember lying in bed and hearing the train out of our seventh floor window, and I would feel like my eye teeth were growing – like a werewolf, being drawn into the subway. It had a lot of beauty, a lot of meaning. It presented many challenges [but] I felt it was the place to be. I was at home down there.

马克·吕布 Marc Riboud

在法语中有句话，意思是说以低姿态走路。我就是这样，带着小型照相机走路。我不停地仔细观察周围的东西，有时候会拍下些无关紧要的细节。那使我很着迷，但我并不创作故事。我只是个琐碎细节的收藏者。

There is an expression we use in French, marcher au ras des paquerettes, which means to walk at the low level of things. This is what I do. I walk with a small camera. I keep looking – looking at and scrutinizing the things around me. I notice and sometimes photograph appatently insignificant details. It fascinates me – its and obsession – but I don’t end up with a story. I am a collector of instants and of details.

大卫·西摩尔 David ‘Chim’ Seymour

事物在移动……我在很好地工作。我知道此刻想要什么，并且正朝着那方向努力。但是我想要更多……我也是摄影师，在思考人，对同样的问题感兴趣。我们在尝试组织一些有革命精神的摄影师。

Things are moving … I am working well. I know what I want at this moment and I am making progress in that direction. But I want to do something bigger … I am more among photographers, thinking people, interested in the same problems as myself. We are trying to organize some kind of association of rebolutionary-minded photographers.

艾略特·厄危特 Elliott Erwitt

最好的事情发生，往往正是因为你正好带着照相机。在玛格南，我的同事们带有目的地拍摄新闻，而我拍摄到的历史性事件却是出于偶然。

The best things happen because you just happen to be somewhere with a camera. Some of my colleagues in Magnum go to places on purpose to do news, but the historic pictures I’ve made have been by sheer accident.

阿巴斯 Abbas

…… 用黑白观察到的世界是自然的。世界可能是彩色的但黑白超越色彩。在我工作时，我在早晨出门，按下快门，我处于一种优雅的状态。我开始用黑白来看世界。每一种颜色，我都将其翻译成灰色，白色和黑色。它让你的工作上升到一种不同的水平。你不用去理会真实的颜色，然后你就可以有空去理会一些其他的东西。

… Seeing in blace and white is natural. The world may be colour but black and white transcends it. When I’m at work, I go down in the morning. I switch on. I’m in a state of grace. I start seeing black and white. Every tone of colour I translate into tones of grey, black and white. It allows you to work on a different level. Since you don’t have to deal with the colour of reality, you deal with other things.

托马斯·德沃扎克 Thomas Dworzak

你是否去伊拉克其实无关紧要，即使你不去，也会有其他人去。但车臣，或者高加索山脉的其他地方却不同。没有人让我去那里，但我还是要去。照片也许并不是下周就要，但最后总会被需要。

While it doesn’t really matter whether you go to Iraq or not – even if you don’t, someone else will be there – it’s different with Chechnya, or with other parts of the Caucasus. Nobody will assign me to go there but I still do it. I still want to go. The pictures may not be wanted next week, but they will be needed in the end.

约瑟夫·寇德卡 Josef Koudelka

我对这片刚被摧毁的土地十分熟悉。我曾经数年在这里游走，并一次又一次地回来。我并不感到可怕，这是个悲剧，但却很美，无比的美。我喜爱这里，否则我就不会拍摄。在这片受伤的土地上，我看到一种桀骜不驯的美丽，一种力量，还有为生存付出的奋斗。

I know this newly devastated landscape well. I wandered through it for years and I return to it again and again. I don’t find it horrible. I find it tragic, but beautiful. Horribly beautiful. I’m fond of it – if I weren’t, I wouldn’t photograph it. In that wounded landscape I find an untamed beauty. Strength. The struggle for survival.

然后放一些扩展阅读在这里：

＞玛格南中国行　＞ＳＯＨＯ　＞新华网的报道

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