The ability to see in photographic terms is limited only by
your imagination. Some suggest that it can’t be taught, that
it’s a natural gift that a person possesses or not. I beg to differ.
I didn’t have a natural ability to see images; I learned the
ability from others, in the same way I learned from teachers
about math and science. It can be taught and its fundamentals
are found in design, a subject that I cover in depth in
Habit 5. Lesson 3: Think before you shoot. Imagine the final
image in your head before you frame the image and, when
it comes to defining the subject of the photograph, use your
imagination to think outside the box.

一个人想象力的丰富程度决定了预想摄影最终结果的能力。有些人说这只可意会不可言传，这是一种天赋，并非后天可以习得。

对于这种观点，我实在不敢苟同。

我并没有这种天赋。我也是从别人那里学习而来的，就像我是从老师那里习得的数学与科学知识一样。

这是可以通过教导而学会的，并且它是建立在设计理论的基础之上的。

我将在“第五个习惯---第三课---摄影前的思考”中详细介绍如何在摄影前想象最终的拍摄结果，跳出那些所谓的条条框框，充分运用你的想象力去定义你摄影的主题。


===========PACK FOR THE PICTURE YOU WANT===========

为你想要的结果准备摄影器材


Two of the biggest conundrums facing photographers working
in the outdoors are what equipment to carry and how
to carry it. When it comes to overseas travel, particularly
when traveling via or through certain countries, the situation
becomes even more problematic.

户外摄影师外出拍摄面临的两个最大的问题是：该带些什么设备，该怎么携带。

当我们需要进行一次跨洋旅行，特别是必须通过某些国家时，问题就更加严峻了。

The easy answer is to carry everything you own because
you are almost guaranteed that whatever you leave behind
is the piece of kit you’ll want most desperately on location.
However, lugging great packs of gear around, particularly on
extended trips, may not be feasible.

简单的答案就是带上你拥有的所有的东西，因为很有可能，任何一件被你遗漏的小物件，都将有可能是你在拍摄地最迫切需要的一样东西。但是，携带一大堆装备在你身边，特别是对于长途旅行，实在未必可行。。


A better answer is found within the topics already covered.
If you have researched your trip and visualized the type of
images you want to photograph, not only are you likely to
improve your chances of getting the desired shots, you will
be able to make a more informed decision about the equipment
you will need to capture them.

对于这个问题，正如前文所述，最好的解决之道就是“预想”你的整个拍摄过程，这不仅有机会改善与提高你的摄影作品，也能帮助你决定在出发前需要携带哪些设备器材。

For example, immediately after completing this book I am
heading to India and Vietnam to work on a new project. The
project is well defined and I have a clear goal as to the images
I want to shoot. All of the images involve working in close
proximity to the wildlife I’ll be photographing and so, when
it comes to choosing lenses for the trip, I know that I can
leave behind my long telephotos (heavy, cumbersome, diffi -
cult to transport and eye-catching to thieves) and pack only
the wide-angle and standard lenses and a short—medium
telephoto zoom, all of which fit nicely into my carry-on
luggage.

举例来说，在我完成这部书后不久，我就要准备出发去越南与印度拍摄制作一个专题了。这个专题的内容很明确，对于我要拍摄的目标图像我也已经很明确了。所有的照片都将在非常靠近野生动物的情况下拍摄。因此，当我在选择我所需要用到的镜头时，我知道我可以吧我那长镜头留在背包里了（笨重，手续复杂，运输相当困难，招贼惦记），我今带上广角镜与标镜还有中远摄镜就好了，所有这些都可以非常轻松地装在我的双肩包里。

Working this way I can limit the amount of gear I need to
transport overseas, which, since 9/11 and similar events in
London and elsewhere, has become one of the most stressful
parts of my job. It also means I have less to carry with me
into the field.

通过这种方式，在跨洋旅行时，我可以限制我的背包重量。尤其是，自打911与其它类似事件发生之后，在我进入伦敦和世界其它地方执行任务时（恐怖事件重灾区），限制我的背包重量已经成了我迫切需要做的工作。

Get into the Habit: Photographic Equipment and Airports

Over the years, I have devised many methods of getting my gear
from point A to point B, safely and securely. As time has gone by,
most of the major airport authorities and airlines have done their
best to foil my latest fiendish plan, up to the point that now there
are few ways to beat the system.

养成习惯：摄影设备与航空运输

多年以来，我设计了许多方法，让我的摄影装备
安全可靠地从A点运到B点。主要有以下几点：

Given the distinct possibility that anything valuable going into the
cargo area won’t make it to the intended destination, I rarely, if
ever, carry equipment in checked luggage. On a short assignment,
my typical method of carrying gear at the time of this writing is to
pack as much equipment into a regulation-size photo pack as I can
get away with. Packed intelligently, these packs can carry an awful
lot of gear. Any other equipment I secrete into the pockets of a
large press-style photo vest, which I wear under my jacket. I appreciate
that I look a bit idiotic, but I prefer this to having my valuable
equipment pilfered.

[color=#FF0000]我很少将我的摄影装备托运，对于一个短期的拍摄任务，我会尽可能的将我的摄影器材打包，并随身携带。背包空间的巧妙安排，可以让你的背包装上大量的器材。我还会穿上一个记者马甲，装一些其它装备，虽然这让我看起来很二，但是我宁愿这样做，也不想让我的设备失窃。[/color]

On longer assignments, where I have to carry much more equipment,
I have the bulk of the equipment shipped to my destination by one
of the major international courier companies. This way I can track
it throughout its journey and the equipment is insured (few insurance
companies will insure valuable items between the point of airport
check-in and baggage collection). When using this method of
transporting gear, I always carry with me a minimum amount of gear
to enable me to get some work done in the event my other equipment
arrives in Kazakhstan rather than Kenya. This gear includes the
following:


对于执行周期较长的任务，我要携带更多的设备，
这时我主要通过国际快运公司来运输装备。这样我就可以随时跟踪我设备的整个行程。
（某些保险公司还可以为我的设备在运输过程中投保）。当使用此方法
运送设备，我总是极可能少的携带设备来完成任务。我去哈萨克斯坦时用的设备就要比去肯尼亚用到的设备要多。这些设备主要包括：

■ Digital camera body 相机机身
■ 24- to 70-mm AF zoom 镜头1
■ 70- to 200-mm AF zoom 镜头2
■ 200- to 400-mm AF zoom 镜头3
■ 1.4  teleconverter 1.4倍增倍镜
■ Flash unit and cables/bracket 闪光灯组件
■ Spare batteries and charger 备用电池与充电器
■ Memory cards 存储卡
■ Portable HDD 移动硬盘
■ Camera/lens-cleaning accessories 相机/镜头 清洁套装
■ Cable release 数据线

For long overseas assignments, I often have the bulk of my gear shipped out by air courier. I then collect the containers at my final destination.

对于远途任务，我经常将我的大部分设备通过空运运输，然后再到目的地签收。

译文已在上上楼译出

辛苦了，谢谢！！！

理论中所能学到的知识有限，真正能提高自己的恰是哪些在专业理论之外的东西。正所谓功夫在字外，唯有广博的积累才会有更广阔的视野，更高的境界。否则就只能坐井观天。
感谢楼主分享这些，辛苦了！

:

前些日子一是比较忙 二是我们用的卫星网络实在是太不给力了 所以基本上就没有怎么上网更新 浪费了许多粮票 OK 现在开始更新~

A Tale of Two Cultures
Given the overly officious attitudes encountered at many airports,
the following true story may amuse you.
I was traveling out of a small, provincial airport in Africa, heading for
Johannesburg. To set the scene, the terminal building was little more
than a tin shack and the arrivals/departure information board was a
conference room flip chart.
In front of me in the security line was a lady carrying several rolls
of exposed fi lm. The film was in a clear plastic bag and each film
cartridge was outside its container. When the attendant, dressed in
an old, ill-fi tting uniform (no socks), called her forward she asked
politely if he would make a hand search of her film, explaining that
the x-rays might damage it.
The attendant looked a little perplexed, as if not understanding her
request, so she explained again. This time a wide, genial grin crossed
the man’s face and he pointed to a sign on the wall that read, “All
baggage must pass through the x-ray machine.”
“Yes, I know that,” said the lady “but, as I explained, the x-ray might
damage my film.”
“I am sorry,” replied the attendant, still smiling, “but all baggage
mus’ pass through the x-ray masheen.”
The lady tried again but received the same smiling response, “All
baggage mus’ pass through the x-ray masheen.”
A local tour guide overheard the conversation and tried to help out.
He spent fi ve minutes explaining to the attentive, still smiling attendant
the reason that the lady didn’t want to pass her film through
the x-ray machine.
Finally a look of understanding spread across the attendant’s face.
“Ah!” he said, “I understand. But … it is o-kay. Because … the xray
masheen, it is no’ working!”
With that the bag of film passed through the x-ray machine and
everyone was smiling.



一个关于两种文化的故事

鉴于我在许多机场经常遇到的那种没事瞎找麻烦的行李检查程序，下面我想给大家讲一个挺搞笑的事。

当时，我正在非洲的一个很小的省级机场，我正打算去约翰内斯堡，在过行李检查处时，在我安全线前面的是一位女士，她手里用塑料袋很清楚地装着几卷胶卷。一个身着制服、年纪很大而且还没有穿袜子的机场安检工作人员,向她提出要测试她手中的胶卷。

这个女士很有礼貌又很困惑的解释说，这样会导致她的胶卷曝光的。

这个工作人员和蔼的笑了笑，但是手又指了指墙上的标语---“所有的行李必须通过X光机”

女士说：“是的，我知道，但是这会损坏我的胶卷的”

这个工作人员听完后，依然笑着说：“对不起，但是所有的行李必须通过X光机……”

女士又解释了一遍，但得到的仍然是同样的回答“对不起，但是所有的行李必须通过X光机……”。


当地导游听到他们的谈话，便准备来帮助解围。导游微笑着，耐心地用了超过五分钟的时间来解释，女士不想让她的胶卷通过X光机的原因。

最后，工作人员终于一脸的释然。

“哦…… 我明白了 但是没关系。因为这个X光机没有工作……”

当袋子里的胶卷通过X光机时，每个人脸上都带着微笑……




When choosing a photo bag, your options are seemingly
increasing all the time, as new and innovative designs reach
the marketplace. However, the two most important criteria
are its size (is it large enough to carry all the gear you’ll
need and, if you plan to travel much, small enough to be
accepted as carry-on luggage?) and comfort (how does it feel
when fully loaded?). My advice is to head down to your local
camera store and experiment with a few different bags.

当你在选择摄影包的时候，你可能会因为现在越来越多的创新设计而感到不知所措。其实，你只要知道两个最重要的指标就可以。

首先是包包的大小（它是不是大到你可以装下所有你需要的摄影器材？或者说，如果你的旅行计划很多，那是不是可以小到便于随身携带？）

然后就是它的舒适程度（当满载的时候）

我的建议是，亲自去附近的器材店里测试几个不同的摄影包。

If you intend to ever put camera equipment into an aircraft
cargo hold, then I would suggest strongly that you
use a purpose-designed hard case, such as those available
from Peli and Storm. These cases will withstand the
attention of even the most energetic of airport baggage
handlers and are almost indestructible. I say “almost” because
I have done some lengthy testing of Storm’s cases, and have
seen them survive the close attention of, among other creatures,
a black bear. However, a case finally met its match in
the shape of a full-grown adult male elephant. That said, the
elephant, which I should point out, was in musth, took 15
minutes to crush the case. This was enough to convince me
of its ability to protect my gear in all but the most extreme
of circumstances.

如果你打算航空托运你的摄影器材的话，我强烈建议你选择那些专门设计的摄影包。譬如 PELI 和 STORM 这两个牌子。他们“几乎”可以应付所有的暴力机场搬运工（注意，我说“几乎”是因为我已经测试过很多次了……）。而且我还亲眼见到他们从一头黑熊手下幸存……

但是，最终仍在一头完全成熟的成年雄性大象，15分钟分钟持续不断的猛烈攻击下，粉碎了……

这些事实充分说服了我，这两个品牌的摄影包可以让我的摄影器材在最极端的情况下幸免于难……
When packing a bag for carrying in the field, make sure that
weight is evenly distributed; this will make it more comfortable
to carry, particularly on longer trips. Also, keep the bag
well-organized, with essential gear easily accessible.


当你打算在外地随身携带一个摄影包的时候，要确保重量是均匀分布的，这可以让你的携带更加舒适，特别是在长途旅行的时候。另外，要精心组织设备的放置，尽量不要携带不必要的设备。

When taking camera bags through airports, if you intend to
put a case in the cargo hold, try and disguise it by placing it
inside a less obvious bag, such as an old army or military duffel
bag. Padlocks will prevent minor pilfering but, when traveling
via any U.S. airport, use the specially designed padlocks
(Travel Sentry or Safe Skies Locks) to which U.S. Customs
and Security have a master key (in the United States the
authorities have the legal right to break any lock in order to
search a bag).

当你携带摄影包通过机场的时候，如果你打算托运，要尝试做些伪装，把摄影包包在一个破旧的军旅包里，或者行李包中。避免被人顺手牵羊。

（译者注：某些国家机场工作人员经常偷窃乘客货物，譬如：巴基斯坦）

当你使用一些专门设计的挂锁（比如 Travel Sentry 或 Safe Skies Locks 这两个牌子），美国海关和保安部门会有一把专用钥匙，并且他们有合法的权利，开启并检查你的摄影包。

美国当局有一把特殊钥匙 有权打开这种密码锁 检查你的行李

这本书我有，但我还是没有看完，今天在这里重温了，非常感谢

One of the most critical skills to learn in nature photography
is the ability to handle the camera without thinking about it.
The more time one spends wondering which control dial to
adjust and in which direction, the greater the likelihood that
your intended image has long since disappeared from the
scene. This can be as true of an apparently static subject, such
as a landscape, as it is of fast moving subjects like wildlife,
particularly when you take into account how quickly light
can change.

自然摄影中最关键的技能就是---潜意识控制相机的能力。你花在设置相机参数上的时间越多，你失去最佳拍摄机会的可能性就越高。即便是静态的物体也是一样，当你注意到光线的变化有多快的时候，你就会发现其变化的速度一点也不亚于野生动物。


A useful analogy is driving. Those of us who have been driving
for any period of time no longer think about the actual
act of driving, we just get in our cars and drive. It’s second
nature. A competent nature photographer is able to use the
camera in the same way. Of course, getting to this point takes
practice. Remember when you couldn’t drive at all? At that
point, we are in a state referred to as unconscious incompetence—
we don’t know what it is we don’t know. So, we
decide to get some instruction. The driving instructor places
us in the car and explains all the controls and how they work,
and we move into a state described as conscious incompetence—
we now know what it is we don’t know.

一个很好的类比方案就是驾驶。我们在开车的时候基本上不需要考虑我们该如何操控。我们只要进入到汽车中就可以驾驭它。这就是我们的第二本能。一个称职的自然摄影师必须同样具备这样的能力。当然，这需要进行大量练习。还记得你刚开始学驾驶的时候吗？

开始那段时期我们称为“无意识，无能力”（我们不知道什么是我们不懂的），因此我们需要得到一些提示。教练教我们如何控制车辆，并告诉我们车辆的工作方式。渐渐地，我们就进入了认知的第二个阶段“有意识，无能力”（我们知道什么是我们不懂的）。

After a few lessons and a bit of practice we begin to get the
hang of driving and our confidence increases, although we
still have to think about what it is we’re doing. This is the
state of conscious competence—we know what we’re doing
but have to think about it. Then after many weeks, months
and years of practice, we are able to drive without thinking
about the mechanics of driving—a state known as unconscious
competence.

经过一些课程与短暂的练习后，我们开始试着操控驾驶，并且我们的信心也渐渐增强，当然，这时我们仍然需要思考我们正在做什么。这时我们就进入了一种“有意识，有能力”的状态（我们知道我们正在做什么，但是我们必须经历思考的过程）。

然后经过也许是几周，也许是数月，甚至是数年的联系，我们就完全有能力不用考虑驾驶设备了，这种状态我们就称之为“无意识 有能力”

For many nonprofessional photographers, who do not get
a chance to use their cameras day in day out, camera skills
often sit in the second or third of these four categories. In
order to master professional-level nature photography, however,
developing the habit of using the camera instinctively is
critical. Habit 2: Know your camera!

对于大多数非专业摄影师而言，可能没有机会天天拿着相机，因此大多数人往往总是停留在上述的第二阶段状态“有意识，无能力”。为了掌握专业自然摄影师的能力。严格培养依靠本能来控制相机的能力是非常重要的。

下面让我们开始第二个习惯：“了解你的相机”！


CAMERA CONTROLS AND WHAT THEY DO

了解相机的操控，与认识相机的拍摄能力

In a cupboard at home I have an old Nikon F3 film camera.
For many years the F3 was Nikon’s flagship camera, a topof-
the-line, fully specified professional camera used by practically
all professional photographers in the fields of press
and outdoor photography. I also have the manual for the F3,
which runs to a “massive” 47 pages. I also have the instruction
manual for Nikon’s current top-of-the-line digital camera,
the D3, which runs to a total of 444 pages.

在我家中的壁橱里放油一款尼康的老式胶片相机F3.在很长的一段时期里，F3都是佳能的旗舰相机，是专为新闻记者与户外摄影师打造的一款专业级相机。我当然也有一本F3的使用手册。手册的页数达到了“惊人的”47页。

我还有现在尼康的顶级专业相机D3，它的使用手册的页数是444页。