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Considered one of the best underwater photo-
graphers, David Doubilet has been taking spectacular photographs for National Geographic since 1971.
Doubilet: I never…never go in the water without a camera. I can barely take a bath without a camera. I might miss something.
I figure I’ve been underwater now…a hundred days a year since I’ve been 12, for three hours a day. I don’t know what that adds up to but it’s a lot of time. Underwater is half shooting pictures and thinking
about pictures, and the other half is hunting, finding
the stuff. It’s a little bit like trailcraft[对大自然痕迹的研究], walking through the woods – what’s that, what’s that sound, what’s that thing, why are these fish doing that? And after a while you begin to learn how the sea works, and it’s a very complex, very little understood place, and you’ve gotta find things.
Underwater photography, like anything else under water,
requires special training and sophisticated[采用先进技术的] equipment.
Doubilet: Photography is about seeing, and to see
pictures you need to have equipment, and the equipment not only has got to work but it’s got to be different and new. It provides you with a new look, a new way of looking
at something. And underwater, you can’t change film, you can’t change lenses[镜头], you have to have a pile of stuff. To shoot six rolls I have to have six cameras, and each one of them has to have a different lens, and each camera has to have two or three strobes[闪光灯] attached to[连在……上] it. So that’s like a mound[土墩], a mountain of stuff to go off and take a picture of a shrimp, or a shark, or a shrimp and a shark.
And, of course, everything has to be lit under water. It’s a blue or green, strange world, and it needs that, that bottle of sunlight, and when you do that, it restores colors that are never seen…in the real world, and that’s what makes underwater photography a challenge.
For even an old hand like Doubilet, some assignments[任务] bring a special thrill[由于兴奋而感到突然的颤动].
Doubilet: A meeting in the sea is a terribly rare thing. For a human to come face to face with any creature is a wondrous[令人惊奇的] experience. And, of all the creatures in the sea, stingrays[黄貂鱼] are the most bizarre[奇异的]. To be surrounded by these creatures is not only rare, it’s absolutely extraordinary.
Throughout his unforgettable encounters[相遇] with wildlife, David Doubilet never forgets the readers. They, too, must be enlightened and transported by his experience.
Doubilet: I want somebody, who looks at one of my pictures, to cross that barrier of the printed page, and then go into the sea to become, basically, one with the ocean, as it were as corny[老生常谈的]
as it sounds. But, if they can sort of let themselves go and rattle[发出格格声]
around in the frame of the picture
and feel the ocean, then it’s a
successful picture.
戴维·杜比莱被认为是最优秀的水下摄影师之一。自1971年开始，他便一直为《美国国家地理》杂志拍摄精美的照片。
杜比莱：我从不……我向来一定要带了相机才下水。我连洗澡也离不开照相机，因为我可能会就此错过难得一见的景象。
我想，自从12岁以来，每年有一百天、每天有3小时的时间我都是在水下度过的。我不知道那加起来总共有多少，总之是一段很长的时间。在水下时，我用一半的时间拍摄、构思照片；另一半时间则忙于到处搜索，寻找目标。这有点像在野外探寻自然踪迹——那是什么？那是什么声音？那是什么东西？这些鱼为什么要那么做？一段时间以后，你便会开始明白海洋是如何运转的。那里是一个纷繁复杂、人们所知甚少的地方，你必须自己发掘可拍摄的事物。
像其他水下活动一样，水下摄影需要经过特殊训练，并且需要配备先进器材。
杜比莱：摄影的关键在于看，而要看到图像，你需要借助器材。这种器材不仅要能在水下运作，而且得与众不同，有新意。它能为你提供崭新的景观，一种观察事物的新方式。在水下，你无法更换胶卷，你无法更换镜头，你必须准备好一大堆东西。如果要拍六卷胶卷，我就必须准备好六台照相机，每台装上不同的镜头，并且每台相机上还要附上两三盏闪光灯。因此，要预备小山似的一大堆东西才能开始拍摄，然后去拍摄一只虾，或者一条鲨鱼，或者一只虾和一条
鲨鱼。
另外，当然了，必须照亮水下的每一样东西。那是一个蓝色或绿色的奇异世界，它需要一筒阳光的照明；当你打上灯光，水下的事物就重拾起在真实世界里看不到的色彩，而这正是水下摄影的挑战性所在。
即使像杜比莱这样的老手，有的任务还是给他带来了不一样的兴奋感。
杜比莱：在海洋里与生物正面遭遇是一件相当罕见的事情。对人类而言，与任何生物面对面地遇上，都是一种奇迹般的体验。海洋里所有生物之中，黄貂鱼是最奇怪的了。被这样一群生物包围着的情况不仅罕见，而且感觉无比奇妙。
在戴维·杜比莱与野生动物发生难忘邂逅的过程中，他并未忘记读者。读者们也一定会从他的体验中得到启发，产生共鸣。
杜比莱：我希望有人在看到我的照片时，能够跨越印刷纸页的障碍，进入海洋世界，与海洋融为一体——虽然这听起来似乎只是一种老生常谈的想法。但是，如果读者们可以放开胸怀，任凭自己在图片里面神游，尽情感受海洋的气息，那么这就是一幅成功的图片。
graphers, David Doubilet has been taking spectacular photographs for National Geographic since 1971.
Doubilet: I never…never go in the water without a camera. I can barely take a bath without a camera. I might miss something.
I figure I’ve been underwater now…a hundred days a year since I’ve been 12, for three hours a day. I don’t know what that adds up to but it’s a lot of time. Underwater is half shooting pictures and thinking
about pictures, and the other half is hunting, finding
the stuff. It’s a little bit like trailcraft[对大自然痕迹的研究], walking through the woods – what’s that, what’s that sound, what’s that thing, why are these fish doing that? And after a while you begin to learn how the sea works, and it’s a very complex, very little understood place, and you’ve gotta find things.
Underwater photography, like anything else under water,
requires special training and sophisticated[采用先进技术的] equipment.
Doubilet: Photography is about seeing, and to see
pictures you need to have equipment, and the equipment not only has got to work but it’s got to be different and new. It provides you with a new look, a new way of looking
at something. And underwater, you can’t change film, you can’t change lenses[镜头], you have to have a pile of stuff. To shoot six rolls I have to have six cameras, and each one of them has to have a different lens, and each camera has to have two or three strobes[闪光灯] attached to[连在……上] it. So that’s like a mound[土墩], a mountain of stuff to go off and take a picture of a shrimp, or a shark, or a shrimp and a shark.
And, of course, everything has to be lit under water. It’s a blue or green, strange world, and it needs that, that bottle of sunlight, and when you do that, it restores colors that are never seen…in the real world, and that’s what makes underwater photography a challenge.
For even an old hand like Doubilet, some assignments[任务] bring a special thrill[由于兴奋而感到突然的颤动].
Doubilet: A meeting in the sea is a terribly rare thing. For a human to come face to face with any creature is a wondrous[令人惊奇的] experience. And, of all the creatures in the sea, stingrays[黄貂鱼] are the most bizarre[奇异的]. To be surrounded by these creatures is not only rare, it’s absolutely extraordinary.
Throughout his unforgettable encounters[相遇] with wildlife, David Doubilet never forgets the readers. They, too, must be enlightened and transported by his experience.
Doubilet: I want somebody, who looks at one of my pictures, to cross that barrier of the printed page, and then go into the sea to become, basically, one with the ocean, as it were as corny[老生常谈的]
as it sounds. But, if they can sort of let themselves go and rattle[发出格格声]
around in the frame of the picture
and feel the ocean, then it’s a
successful picture.
戴维·杜比莱被认为是最优秀的水下摄影师之一。自1971年开始，他便一直为《美国国家地理》杂志拍摄精美的照片。
杜比莱：我从不……我向来一定要带了相机才下水。我连洗澡也离不开照相机，因为我可能会就此错过难得一见的景象。
我想，自从12岁以来，每年有一百天、每天有3小时的时间我都是在水下度过的。我不知道那加起来总共有多少，总之是一段很长的时间。在水下时，我用一半的时间拍摄、构思照片；另一半时间则忙于到处搜索，寻找目标。这有点像在野外探寻自然踪迹——那是什么？那是什么声音？那是什么东西？这些鱼为什么要那么做？一段时间以后，你便会开始明白海洋是如何运转的。那里是一个纷繁复杂、人们所知甚少的地方，你必须自己发掘可拍摄的事物。
像其他水下活动一样，水下摄影需要经过特殊训练，并且需要配备先进器材。
杜比莱：摄影的关键在于看，而要看到图像，你需要借助器材。这种器材不仅要能在水下运作，而且得与众不同，有新意。它能为你提供崭新的景观，一种观察事物的新方式。在水下，你无法更换胶卷，你无法更换镜头，你必须准备好一大堆东西。如果要拍六卷胶卷，我就必须准备好六台照相机，每台装上不同的镜头，并且每台相机上还要附上两三盏闪光灯。因此，要预备小山似的一大堆东西才能开始拍摄，然后去拍摄一只虾，或者一条鲨鱼，或者一只虾和一条
鲨鱼。
另外，当然了，必须照亮水下的每一样东西。那是一个蓝色或绿色的奇异世界，它需要一筒阳光的照明；当你打上灯光，水下的事物就重拾起在真实世界里看不到的色彩，而这正是水下摄影的挑战性所在。
即使像杜比莱这样的老手，有的任务还是给他带来了不一样的兴奋感。
杜比莱：在海洋里与生物正面遭遇是一件相当罕见的事情。对人类而言，与任何生物面对面地遇上，都是一种奇迹般的体验。海洋里所有生物之中，黄貂鱼是最奇怪的了。被这样一群生物包围着的情况不仅罕见，而且感觉无比奇妙。
在戴维·杜比莱与野生动物发生难忘邂逅的过程中，他并未忘记读者。读者们也一定会从他的体验中得到启发，产生共鸣。
杜比莱：我希望有人在看到我的照片时，能够跨越印刷纸页的障碍，进入海洋世界，与海洋融为一体——虽然这听起来似乎只是一种老生常谈的想法。但是，如果读者们可以放开胸怀，任凭自己在图片里面神游，尽情感受海洋的气息，那么这就是一幅成功的图片。