看腻了北极熊，环境危机的图片报道应何去何从？

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每当提起环境危机，在你脑海里闪现的图片是不是一只站在融冰上的北极熊？《卫报》的图片编辑菲奥娜·希尔兹向我们阐释了在环境危机报道中，图片的主体应该更多是人，而不是北极熊。

为什么呢？让小Q来带你探索吧。

At the Guardian we want to ensure that the images we publish accurately and appropriately convey the climate crisis that we face. Following discussions among editors about how we could change the language we use in our coverage of environmental issues, our attention then turned to images. We have been working across the organisation to better understand how we aim to visually communicate the impact the climate emergency is having across the world.

在《卫报》，我们想要确保我们发布的图片能够精准适当地表达出我们面临的气候危机。编辑们就如何改变我们在报道环境问题中使用的语言展开了讨论，之后，我们就将报道的重心转向了图片。为了更好地知道我们该如何从视觉上传达气候紧急情况对全世界的影响，我们一直都在各个社会组织中进行工作。

The research organisation Climate Visuals have found that “images that define climate change shape the way it is understood and acted upon”.

研究机构“气候视觉”发现，“定义气候变化的图片塑造了人们对气候变化的理解，并影响了人们采取行动”。

A man and his child wear masks to protect them from heavy smog as they visit Waitan in December 2013 in Shanghai, China.

2013年12月，在中国上海，一名男子和他的孩子带着口罩去外滩游玩

The industrial landscape across the Dee estuary at sunrise as steam rises from Deeside power station, Shotton Steelworks and other heavy industrial plants in April 2016 in Flintshire, Wales.

2016年4月，在威尔士弗林特郡的Dee河口，Deeside发电站、Shorron钢铁厂和其它重工业工厂的蒸汽随着太阳一起升起的工业景观

It was important to address our own use of images and understand the processes that lead to image selection for our environmental and weather stories. When given a story, a picture editor or subeditor may have a short time to choose an image from our database, which is why the availability and prominence of climate crisis photography is a key element in the process. It can also be difficult for photographers to capture images that reflect global heating, weather patterns and wildlife extinction, especially when trying to depict what cannot always be seen.

处理我们使用的图片并明白这一过程是很重要的，这个过程会导致环境天气的报道中图片的选择。当接到一篇报道时，图片编辑或者副编可能没有多少时间从我们的数据库中选择图片，因此，气候危机摄影的可用性和显著性是图片选择过程中的关键因素。对摄影师来说，捕捉到那种可以反映全球变暖、气候模式和野生动物灭绝的图片也是很困难的，尤其是当他们试图描绘那些很罕见的画面时。

We know, from years of experience, that people love polar bears and pandas, so it is easy to see how these appealing creatures have become the emblems for the topics of endangered species and what we previously termed as global warming. Often, when signalling environmental stories to our readers, selecting an image of a polar bear on melting ice has been the obvious – though not necessarily appropriate – choice. These images tell a certain story about the climate crisis but can seem remote and abstract – a problem that is not a human one, nor one that is particularly urgent.

从多年的经验来看，我们知道，人们喜欢北极熊和熊猫，所以人们很容易看到这些吸引人的生物是如何变成濒危物种话题中的象征的。在通常情况下，向读者讲述环境故事时，我们普遍都会选择一张北极熊站在融冰上的图片，尽管它并不一定合适。这样的图片讲述了一个气候危机的故事，但似乎有些遥远且抽象，因为这的确不是一个有关人类的问题，而且也不是迫在眉睫的。

So it made sense when we heard that research conducted by the team at Climate Visuals has shown that people respond to human pictures and stories. Images that show emotion and pictures of real situations make the story relevant to the individual. Rather than choosing, say, an image of a smoke stack pumping out pollution or a forest on fire, such as this:

所以，“气候视觉”团队进行的研究所得出的结果是有道理的：人们会对关于人类的图片和故事做出反应。表现情感和真实情况的图片能够使故事与个人联系起来。比方说，不要去选择一张烟囱排放污染气体的照片或者一张森林火灾的照片，就像下面这张：

A wildfire burns uphill in the Appalachian mountains.

阿巴拉契亚山脉上熊熊燃烧的烈火

… we should consider showing the direct impact of environmental issues on people’s daily lives as well as trying to indicate the scale of the impact, such as these:

……我们应该考虑去展现一些环境问题对人们日常生活所造成的直接影响，并尝试去表现出其影响程度。

A woman and child wear masks on a polluted day in Beijing in October 2014.

2014年北京，一名妇女和一名小孩带着口罩出现在重度污染的一天中

World Environment Day, Dimapur, India, June 2019.

2019年6月，世界环境日下的印度迪马普尔地区

Gordon Easter and Gail Hale embrace as they return to what remains of their home on Hopper Lane in Coffey Park, in October 2017 in Santa Rosa, Northern California, after a wildfire.

2017年10月，在加利福尼亚州北部的圣罗莎市，一次火灾过后，当戈登·伊斯特和盖尔·黑尔回到了科菲公园霍珀巷的家中时，他们拥抱在了一起。

More than 6m metric tonnes of lead slag form Black Mountain, a 30-meter pile of toxic lead waste that still contains a sizable quantity of lead, copper, manganese and zinc, in Kabwe, Zambia.

在赞比亚的卡布韦，超过600万公吨的铅渣形成了黑山，这是一个高30米的有毒铅废料堆，它还含有相当多的铅、铜、锰和锌。

In the UK, the weather is a national preoccupation and as such a subject of tradition for British newspapers. People enjoying a sunny holiday weekend, or a fresh fall of snow at home or abroad can deliver some delightful and beautiful images:

在英国，天气是一个全国关注的话题，也是英国报纸的传统话题。人们享受着阳光明媚的假日周末或一场初雪，无论在国内还是在国外，这些都能展现出一些怡人又美丽的画面：

Kids make the most of the drifting snow on the Cotswold hills, Worcestershire, December 2017.

2017年12月，在伍斯特郡的科茨沃尔德山上，孩子们充分利用了低吹雪。

People enjoy the sunshine on Bournemouth beach during the late August bank holiday 2019.

在2019年8月底的银行假日期间，人们在伯恩茅斯的海滩享受阳光。

A woman plays with her dog in a park in Moscow, Russia, February 2019.

2019年2月，在俄罗斯莫斯科，一名妇女在公园里和她的狗玩耍。

But as we have reported, the science tells us a much more sinister story of regular heatwaves and unseasonal weather being a defining indicator of the climate crisis. So, although scenes of children playing in fountains and everyone racing to the beach can be uplifting and irresistible, we have to be mindful of the tone of our journalism.

但正如我们所报道的，科学告诉我们一种更为险恶的情况——经常性的热浪和不合时节的天气是气候危机的决定性预兆。所以，尽管孩子们在喷泉里玩耍和每个人都跑到海滩上的场景振奋人心且无法抗拒，我们也必须注意我们新闻报道的基调。

This summer, the British media published dramatic headlines issuing climate warnings and covered in detail the negative impact of the crisis, but the images were typically of people taking pleasure in the environment. The contradiction in messaging, between the headlines and imagery, can undermine the effect of the reporting and how we perceive the risks.

英国媒体在今年夏天刊登了引人注目的头条，发布了气候预警，还详细地报道了环境危机的负面影响，但那些图片通常是人们在环境中享受乐趣的画面。新闻标题和新闻图片在传递信息方面的不一致会削弱报道的效果和我们对风险的感知。

As picture editors and photographers, we are having to think again about finding the right focus. Many of the impacts to communities, biodiversity, agriculture, water and food supply represent the escalating crisis our planet faces, yet visually they can be far more challenging to depict. We need new imagery for new narratives. This can be challenging in a fast-paced newsroom but it is important to be nuanced and creative with search terms to unearth photography beyond the usual keywords of climate change, heatwave and floods.

作为图片编辑和摄影师，我们必须重新思考去寻找正确的焦点。环境危机对社会、生物多样性、农业、水和粮食供应造成的许多影响，代表着我们这个星球所面临的危机在不断升级，但从视觉上看，描述它们可能要困难得多。我们需要新的照片来讲述新的故事。在一个快节奏的新闻编辑室里，这可能是一个挑战，但重要的是，我们用的搜索词不仅要细致入微，还要有创意，这样才能找到气候变化、热浪和洪水等常见关键词之外的摄影作品。

As our stories make a journey from their initial point of publication through the various networks of social media we also have to be mindful of how the image is connected to the headline. We have to consider that the two must work together to allow the reader to make a broad sense of the article often simply at a glance. Relatable images that are not overly abstract have become a good choice.

当我们的新闻报道通过社交媒体的各种网络，从它们最初的发表处踏上征程时，我们还必须注意图像与标题之间的联系。我们必须意识到，这两者共同起作用，才能让读者对这篇文章有一个大致的了解，而不是像通常那样，只是简单的扫一眼。不太抽象的、有关联性的图像已经成为了一个不错的选择。

However, in its simplest form, getting the emotional tone of imagery in line with the issue is critical, rather than the visual overload of society universally having fun in the sun. We hope that if we keep having these conversations, we will be able to have even more of an impact with our climate coverage, and others will follow suit.

无论如何，至关重要的是让图像的情感基调以最简单的形式与环境问题相符合，而不是过度报道整个社会在阳光下享乐的场景。我们希望，如果我们继续进行这些话题，我们将能够对《卫报》的气候新闻报道产生更大的影响，其他人也会效仿。