問(wèn)與答：2019專題攝影獎(jiǎng)得主洛倫佐·圖格諾里

問(wèn)與答：2019專題攝影獎(jiǎng)得主洛倫佐·圖格諾里

The Washington Post contributor captured the humanity of those affected by famine in Yemen in his 2019 Prize-winning portfolio. He spoke to the Pulitzers about what drew him to the region and his philosophy on covering struggles of civilians in countries of conflict.

這位《華盛頓郵報(bào)》的投稿人在他2019年獲獎(jiǎng)的作品集中，捕捉到了也門饑荒受害者。他向普利策獎(jiǎng)講述了是什么吸引他來(lái)到這個(gè)地區(qū)，以及他對(duì)報(bào)道沖突國(guó)家平民斗爭(zhēng)的哲學(xué)。

Lorenzo Tugnoli of the Washington Post won the 2019 Feature Photography Prize "for brilliant photo storytelling of the tragic famine in Yemen, shown through images in which beauty and composure were intertwined with devastation."

《華盛頓郵報(bào)》的洛倫佐·圖格諾里獲得2019年專題攝影獎(jiǎng)，“以精彩的照片講述了也門悲慘的饑荒，展現(xiàn)了美麗和鎮(zhèn)靜與災(zāi)難交織在一起的畫面。”

He spoke to the Pulitzer Prizes about what drew him to the Middle East from his native Italy, the artistry of photo journalism and his book project on artists in Afghanistan.

他在普利策獎(jiǎng)?lì)C獎(jiǎng)典禮上談到，是什么吸引他從祖國(guó)意大利來(lái)到中東，攝影新聞的藝術(shù)性，以及他的書《阿富汗藝術(shù)家項(xiàng)目》。

Pulitzer Prizes: What brought you to the Middle East from Italy? Can you recall the first time you visited Yemen?

普利策獎(jiǎng):是什么讓你從意大利來(lái)到中東?你還記得你第一次訪問(wèn)也門的情景嗎?

Lorenzo Tugnoli: I started working in the Middle East early in my career. I wanted to experience for myself the places that I saw in the news and then fell in love with the area.

洛倫佐·圖格諾里:我職業(yè)生涯早期就開(kāi)始在中東工作。我想親身體驗(yàn)我在新聞中看到的地方，然后我愛(ài)上了這個(gè)地方。

There are also a lot of similarities between the Middle East and Italy: It is the same Mediterranean Sea and the same light, we are both all about religion, food, family.

中東和意大利也有很多相似之處:都是同樣的地中海，同樣的陽(yáng)光，我們都與宗教、食物、家庭有關(guān)。

I traveled to Yemen for the first time in 2018. I went twice, each time for over a month on assignment for the Washington Post. I have been working with Sudarsan Raghavan, the Cairo bureau chief, for a few years now.

我在2018年第一次去也門。我去了兩次，每次都是為《華盛頓郵報(bào)》工作一個(gè)多月。幾年來(lái)，我一直在與開(kāi)羅分社社長(zhǎng)蘇達(dá)桑•拉加萬(wàn)共事。

He decided to go, and I was the natural choice for the photographer to be assigned with him. He has an incredible knowledge of the country and working with him was instrumental for me to understand such a complex political situation.

他決定去，而我是攝影師，自然被分配到他身邊。他對(duì)這個(gè)國(guó)家有著難以置信的了解，和他一起工作對(duì)我理解如此復(fù)雜的政治形勢(shì)很有幫助。

My award-winning photo-story was the result of teamwork: It could have not been possible without the support of my editors at the paper, MaryAnne Golon and Olivier Laurent, and their determination to cover the story deeply and thoroughly.

我的攝影故事獲獎(jiǎng)是團(tuán)隊(duì)合作的結(jié)果:如果沒(méi)有我在報(bào)社的編輯瑪麗安娜·戈隆和奧利維爾·洛朗的支持，沒(méi)有他們深入徹底地報(bào)道這個(gè)故事的決心，是不可能完成的。

When we first arrived in Yemen in May 2018, there was a very limited coverage of the country. It was before the Khashoggi incident and no big outlet was interested in putting this faraway country on the front page, so it was really important to be part of such a team.

我們于2018年5月首次抵達(dá)也門時(shí)，對(duì)該國(guó)的報(bào)道非常有限。那是在卡舒吉事件之前，沒(méi)有大的媒體有興趣把這個(gè)遙遠(yuǎn)的國(guó)家放在頭版，所以成為這樣一個(gè)團(tuán)隊(duì)的一員真的很重要。

Now it is crucial to keep covering this conflict and this humanitarian crisis. The situation on the ground is getting worse and I hope there will be a chance to go back to continue telling this story.

現(xiàn)在繼續(xù)報(bào)道這場(chǎng)沖突和這場(chǎng)人道主義危機(jī)至關(guān)重要?，F(xiàn)場(chǎng)的情況越來(lái)越糟，我希望能有機(jī)會(huì)回去繼續(xù)講述這個(gè)故事。

PP: Your prize-winning portfolio includes many images of intimate moments between parents and children. Could you speak to your interest in capturing daily life under such difficult circumstances?

普利策獎(jiǎng):您獲獎(jiǎng)的作品包括許多父母和孩子之間親密時(shí)刻的照片。你能談?wù)勀銓?duì)在如此困難的情況下記錄日常生活的興趣嗎?

LT: I have always been interested in covering the daily life and struggles of civilians in countries of conflict. This attitude makes it more difficult to produce images that fit the news, but concentrating on these quiet moments has allowed me to bring the observer closer to the subject.

洛倫佐·圖格諾里: 我一直對(duì)報(bào)道沖突國(guó)家平民的日常生活和平民斗爭(zhēng)很感興趣。這種態(tài)度讓我很難拍出符合新聞的照片，但專注于這些安靜的時(shí)刻使我能夠讓觀眾更了解主題。

PP: Your bio describes your work as "an ongoing exploration of the humanitarian consequences of conflicts in the region." How do you view a journalist's role in the context of war and famine?

普利策獎(jiǎng):你的自傳將你的工作描述為“對(duì)該地區(qū)沖突的人道主義后果的持續(xù)探索”。在戰(zhàn)爭(zhēng)和饑荒的背景下，你如何看待記者的角色?

LT: I think photographers and journalists have a responsibility as to how they decide to represent a certain place. Media has the power to influence how this or that story is told, and we are part of this machine.

洛倫佐·圖格諾里:我認(rèn)為攝影師和記者承擔(dān)著如何展現(xiàn)某個(gè)地方的責(zé)任。媒體有能力影響故事如何被講述，而我們是這個(gè)機(jī)器的一部分。