A Call for Help from a Feathered Friend來自鳥類朋友的求助

In an attempt to raise awareness and foster a deeper understanding of the green peacock， Wild China Film teamed up with college students in Beijing to present the stage play Peacock on the Tip of the Heart at Star Theaters in January 2020.

為了促進人們對綠孔雀的關(guān)注，加深對綠孔雀的了解，“野性中國”與北京的大學(xué)生合作，于2020年1月在繁星戲劇村上演了舞臺劇《心尖上的綠孔雀》。

The audience applauded wildly at the end of the play， and Xi Zhinong and Shi Lihong， founders of Wild China Film， who produce the play based on peacock protection， expressed their gratitude to these amateur actors who， passionate about wildlife， were willing to give so freely of their time.

觀眾在劇終時報以熱烈的掌聲。“野性中國”創(chuàng)始人奚志農(nóng)和史立紅制作了這部以孔雀保護為主題的話劇，他們向這些熱愛野生動物、愿意無私地奉獻時間的業(yè)余演員表達了感謝。

Twenty-five years ago in Lancang River Basin in Yunnan province Xi captured some of the best photos taken of one of the most beautiful birds in China， the green peacock. In 2017 when Xi returned to the place where he filmed the green peacock， he was surprised to find that all traces of such birds were gone. So to save this beautiful species， Xi started work on protecting the green peacock， camera in hand.

25年前，在云南省瀾滄江流域，奚志農(nóng)拍攝了中國最美的鳥類之一綠孔雀的精彩照片。2017年，奚志農(nóng)回到當(dāng)年拍攝綠孔雀的地方，他驚訝地發(fā)現(xiàn)，這些鳥兒的蹤跡已完全消失。為了挽救這個美麗的物種，奚志農(nóng)開始用手中的相機投身于綠孔雀的保護工作。

According to a survey by the Kunming Institute of Zoology， part of the Chinese Academy of Sciences， fewer than 500 of the peacocks may still exist， and it has now become one of China’s most endangered wildlife species， even rarer than the giant panda.

中國科學(xué)院昆明動物研究所的調(diào)查表明，現(xiàn)存的綠孔雀可能不足500只，如今綠孔雀成為中國最為瀕危的野生物種之一，甚至比大熊貓還稀有。

Xi has photographed countless rare wild animals， and he is determined to use the images to promote wildlife protection.

奚志農(nóng)拍攝過無數(shù)珍稀的野生動物，他立志用影像來推動野生動物的保護工作。

In 1983 Xi started a field investigation hosted by Yunnan University on wild birds in the province， and took part in filming the documentary Bird’s Paradise. It was his first exposure to wildlife photography.

1983年，奚志農(nóng)參加了云南大學(xué)開展的云南省野生鳥類野外考察，參與了紀(jì)錄片《鳥兒的樂園》的拍攝，這是他第一次接觸野生動物攝影。

By working with photographers he witnessed the serious negative impact of traditional wildlife photography on bird-life， and was horrified by photographers’ tactics that included tying the bird on a leash or shocking it to fluster1. This gave birth to his photography concept of “not interfering with wildlife”.

跟隨攝影師工作期間，奚志農(nóng)目睹了傳統(tǒng)野生動物攝影對鳥類生活的嚴(yán)重負面影響，對攝影師用繩子拴住鳥或讓鳥受到驚嚇等手段深感震驚。這催生了他“不干擾野生動物”的攝影理念。

In 1990 Xi was a photographer for one of China Central Television’s most popular and influential programs， Animal World. He twice entered the Dawei Mountain Nature Reserve and the Dulong River Nature Reserve in Yunnan. During the three-month shooting he saw no large wild animals， but instead， the skulls of white wagtail and langur， the fur of impala， the victims of assailants wielding slingshots and crossbows. Xi had earlier been wholly preoccupied by the desire to photograph birds， but he now realized that if people were to be made aware of the importance of protecting the environment， much more than pictures of birds was required.

1990年，奚志農(nóng)成為《動物世界》的攝影師，《動物世界》是中國中央電視臺最受歡迎、最有影響力的節(jié)目之一。他兩次進入云南的大圍山自然保護區(qū)和獨龍江自然保護區(qū)。在三個月的拍攝期間，他沒有看到大型野生動物，反而看到了白鹡鸰和葉猴的頭骨、黑斑羚的毛皮，這些動物都是攻擊者用彈弓與弩射殺的。奚志農(nóng)起初一心只想著拍鳥，可他此時意識到，要想讓人們認識到保護環(huán)境的重要性，只拍鳥的照片是遠遠不夠的。

“A good wildlife work can cut through to people’s hearts， and that is the power of nature，” Xi said.

“一幅好的野生動物作品能夠直擊人心，這就是自然的力量?！鞭芍巨r(nóng)說。

“However， to render this authenticity， in addition to high degree of color restoration， the performance of different color gamut2 is also required. For example， a penguin’s body has many gray tones， and there are many in the surrounding environment， too. These tones will produce a very dim picture... Fortunately， with quality lenses and a lot of experience you can get some remarkable shots in terms of gray scale. This effect makes the picture transitions more natural and expressive.”

“但是要呈現(xiàn)這種真實感，除了色彩的高度還原，還需要不同色域的表現(xiàn)。比如，企鵝的身上有大量的灰色調(diào)，周邊環(huán)境也有大量的灰色調(diào)。這些色調(diào)會讓畫面顯得很暗淡。所幸的是，憑借優(yōu)質(zhì)的鏡頭和豐富的經(jīng)驗，你可以拍出一些灰度處理絕妙的照片。正是這樣的效果讓畫面的色彩過渡更自然，也更具表現(xiàn)力。”

In 1992 Xi left Animal World and followed the Yunnan golden monkey research team， a three-year project by the World Wide Fund for Nature deep into the Baima Snow Mountain National Nature Reserve to shoot golden snub-nosed monkeys.

1992年，奚志農(nóng)離開了《動物世界》，跟隨滇金絲猴研究團隊深入白馬雪山國家級自然保護區(qū)，參與了世界自然基金會開展的一項為期三年的項目，拍攝金絲猴。

After three years of hard work he filmed the documentary Mystery Yunnan Snub-Nosed Monkey. These hauntingly beautiful primates， gentler than others of their kind and elfin-like， seem at once childlike and wise beyond their years.

經(jīng)過三年的努力，奚志農(nóng)拍攝出了紀(jì)錄片《神秘的滇金絲猴》。這些美得令人難以忘懷的靈長類動物比其他同類更加溫馴，猶如精靈一般，似乎既有孩子的純真，又有超越年齡的智慧。

It was the first time that humans had recorded the activities of Yunnan snub-nosed monkeys with a camera. The documentary is not only of important academic value， but has been praised for its artistic value and was later used as teaching material for environmental education in college classes. The film won the TVE3 award at the prestigious Wildscreen Festival in Bristol， England， in 2002.

這是人類第一次用攝影機記錄滇金絲猴的活動狀況。這部紀(jì)錄片不僅有重要的學(xué)術(shù)價值，還憑借其藝術(shù)價值而深受好評，后來成為大學(xué)環(huán)境教育課程的教材。2022年，這部影片在英國布里斯托爾享有盛譽的“自然銀幕電影節(jié)”上榮獲了TVE獎。

After gaining fame with the film， Xi started working on another documentary， Mystery Monkeys of Shangri-La， in 2012. It depicts a monkey family led by a formidable elderly leader that protects its eight or ten clans against the hardships in the Himalayas using defensive strategies， collaboration and interdependence to survive. The film received an Emmy nomination for Outstanding Nature Programming in 2016.

憑借這部影片聲名鵲起后，奚志農(nóng)于2012年開始制作另一部紀(jì)錄片《云上的家庭》（又名《香格里拉神秘之猴》）。本片講述了一個金絲猴家族的故事，勇敢的年長猴王帶領(lǐng)著這個家族，保護八到十個猴群應(yīng)對喜馬拉雅山的惡劣環(huán)境，通過防御策略、合作以及相互依賴而繁衍生息。這部影片在2016年獲得了艾美獎最佳自然節(jié)目提名。

Xi was born in Dali， Yunnan， a place close to nature， where wolves’ howl can be heard at night. He thought that the world should be like what he witnessed in childhood.

奚志農(nóng)出生在云南大理，那個地方離大自然很近，夜晚聽得到狼嚎。他認為，世界就應(yīng)該是他童年時見到的樣子。

In 1997 he entered Hoh Xil Nature Reserve in Qinghai province and photographed newborn lambs in the wild， wild wolves that were adept at swiftly evading the attentions of the camera， wild donkey herds that escaped from the paws of wolves， and direct evidence that Tibetan antelopes had been poached.

1997年，奚志農(nóng)進入青海省可可西里自然保護區(qū)，拍攝野地里剛出生的小羊、敏捷閃躲鏡頭的野狼、狼爪下逃生的野驢群，以及藏羚羊被盜獵的直接罪證。

“We found 11 places with such corpses， and 89 ewes were killed by poachers， not including unborn lambs.”

“這樣的尸體堆我們找到11處，89頭母羊被偷獵者殺死，還不包括未出生的小羊?！?/p>

The scene was shocking， he said.

他說，這個場景讓人觸目驚心。

“In China， to be a wildlife photographer， a desperate love for nature is the minimum you need. You also need to be patient and have strong nerves. You have to be able to face horrific scenes， you have to endure anger， and you have to record and record again.”

“在中國，要做個野生動物攝影師，對大自然不顧一切的熱愛只是基礎(chǔ)。你還得有足夠的耐心和強大的心理承受力。你得面對慘烈的景象，還得強忍著怒火，還得一次又一次地記錄?！?/p>

His records and materials have become a potent weapon in promoting protection of Tibetan antelopes， and thanks to his work， care for protecting the Tibetan antelope has traveled well past China’s borders.

他的記錄和資料成為推動藏羚羊保護的有力武器，他的工作使藏羚羊保護工作獲得了超越國界的關(guān)注。

The Chinese Wildlife Photography Training Camp that Xi set up 20 years ago has become the Natural Image School， its aim being to cultivate more wildlife photographers to make the best nature movies in China. The Cangshan Mountain Nature Education Center， which he set up in 2016， is located at an altitude of 3，800 meters in Dali， Yunnan.

奚志農(nóng)20年前開設(shè)的“中國野生動物攝影訓(xùn)練營”已經(jīng)成為“自然影像學(xué)?！保耘囵B(yǎng)更多野生動物攝影師、制作中國最優(yōu)秀的自然紀(jì)錄片為目標(biāo)。2016年，他在云南大理海拔3800米高的地方成立了蒼山自然教育中心。

There is more to photography than just taking pictures， Xi said. “Photography is a tool， a powerful weapon for nature conservation. But you have to be a good photographer in order to make images strike a chord with the softest spot of one’s heart.”

奚志農(nóng)說，攝影不僅僅是拍照?！皵z影是保護自然的工具和有力武器。但你必須做優(yōu)秀的攝影師，才能讓影像打動人們內(nèi)心最柔軟的地方?！?/p>

（from China Daily， Global Edition， Feburary 22， 2020）

1 fluster慌亂，變得緊張不安。

2 gamut（某一類事物的）全部，整個范圍。

3 = Television for the Environment英國慈善機構(gòu)，1984年由聯(lián)合國環(huán)境規(guī)劃署（UNEP）、英國世界自然基金會（WWF UK）和中部獨立電視臺（CIT，英國獨立電視臺的前身）共同創(chuàng)立。通過電影、動畫、紀(jì)錄片、辯論和社交媒體等多種形式，打造關(guān)于環(huán)境和發(fā)展的有影響力的傳播內(nèi)容，推動可持續(xù)未來的實現(xiàn)。

The Salary Theory

Dilbert’s “Salary Theorem” states that “Engineers and scientists can never earn as much as business executives and sales people.” This theorem can now be supported by a mathematical equation based on the following two postulates：

As every engineer knows： Power = Work / Time

Since：

Knowledge = Power

Time = Money

Knowledge = Work / Money.

Solving for Money， we get：

Money = Work / Knowledge.

Thus， as Knowledge approaches zero， Money approaches infinity， regardless of the amount of work done.

Conclusion：

The less you know， the more you make.