水下攝影：探索深海奧秘

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[對大自然痕跡的研究]， 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[采用先進(jìn)技術(shù)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[鏡頭]， 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[閃光燈] attached to[連在……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[任務(wù)] bring a special thrill[由于興奮而感到突然的顫動].

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[令人驚奇的] experience. And， of all the creatures in the sea， stingrays[黃貂魚] are the most bizarre[奇異的]. 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[老生常談的]

as it sounds. But， if they can sort of let themselves go and rattle[發(fā)出格格聲]

around in the frame of the picture

and feel the ocean， then it’s a

successful picture.

戴維·杜比萊被認(rèn)為是最優(yōu)秀的水下攝影師之一。自1971年開始，他便一直為《美國國家地理》雜志拍攝精美的照片。

杜比萊：我從不……我向來一定要帶了相機(jī)才下水。我連洗澡也離不開照相機(jī)，因?yàn)槲铱赡軙痛隋e過難得一見的景象。

我想，自從12歲以來，每年有一百天、每天有3小時(shí)的時(shí)間我都是在水下度過的。我不知道那加起來總共有多少，總之是一段很長的時(shí)間。在水下時(shí)，我用一半的時(shí)間拍攝、構(gòu)思照片；另一半時(shí)間則忙于到處搜索，尋找目標(biāo)。這有點(diǎn)像在野外探尋自然蹤跡——那是什么？那是什么聲音？那是什么東西？這些魚為什么要那么做？一段時(shí)間以后，你便會開始明白海洋是如何運(yùn)轉(zhuǎn)的。那里是一個(gè)紛繁復(fù)雜、人們所知甚少的地方，你必須自己發(fā)掘可拍攝的事物。

像其他水下活動一樣，水下攝影需要經(jīng)過特殊訓(xùn)練，并且需要配備先進(jìn)器材。

杜比萊：攝影的關(guān)鍵在于看，而要看到圖像，你需要借助器材。這種器材不僅要能在水下運(yùn)作，而且得與眾不同，有新意。它能為你提供嶄新的景觀，一種觀察事物的新方式。在水下，你無法更換膠卷，你無法更換鏡頭，你必須準(zhǔn)備好一大堆東西。如果要拍六卷膠卷，我就必須準(zhǔn)備好六臺照相機(jī)，每臺裝上不同的鏡頭，并且每臺相機(jī)上還要附上兩三盞閃光燈。因此，要預(yù)備小山似的一大堆東西才能開始拍攝，然后去拍攝一只蝦，或者一條鯊魚，或者一只蝦和一條

鯊魚。

另外，當(dāng)然了，必須照亮水下的每一樣?xùn)|西。那是一個(gè)藍(lán)色或綠色的奇異世界，它需要一筒陽光的照明；當(dāng)你打上燈光，水下的事物就重拾起在真實(shí)世界里看不到的色彩，而這正是水下攝影的挑戰(zhàn)性所在。

即使像杜比萊這樣的老手，有的任務(wù)還是給他帶來了不一樣的興奮感。

杜比萊：在海洋里與生物正面遭遇是一件相當(dāng)罕見的事情。對人類而言，與任何生物面對面地遇上，都是一種奇跡般的體驗(yàn)。海洋里所有生物之中，黃貂魚是最奇怪的了。被這樣一群生物包圍著的情況不僅罕見，而且感覺無比奇妙。

在戴維·杜比萊與野生動物發(fā)生難忘邂逅的過程中，他并未忘記讀者。讀者們也一定會從他的體驗(yàn)中得到啟發(fā)，產(chǎn)生共鳴。

杜比萊：我希望有人在看到我的照片時(shí)，能夠跨越印刷紙頁的障礙，進(jìn)入海洋世界，與海洋融為一體——雖然這聽起來似乎只是一種老生常談的想法。但是，如果讀者們可以放開胸懷，任憑自己在圖片里面神游，盡情感受海洋的氣息，那么這就是一幅成功的圖片。