Leonard Freed

莱昂纳德·弗里德

Photographer who documented the struggles of ordinary people from protesting black Americans to North Sea oil workers

 记录从举行抗议的美洲黑人到北海原油工人普通人奋争历程的摄影师。

 Amanda Hopkinson

 阿曼达·霍普金森

 The name of the American Leonard Freed, who has died aged 77, became synonymous with that of the "concerned photographer". In the wake of the second world war, photojournalism became increasingly involved with human rights and, in Freed's case, with civil rights in his homeland. As a documentarist of the situation of African-Americans, he always had an eye for the unexpected and upbeat, often in the grimmest of circumstances.

 美国人莱昂纳德·弗里德与世长辞，享年77岁。他的名字成为“关心人类的摄影家”的同义词。第二次世界大战过后，新闻摄影日益涉足人权领域，弗里德则日益关注祖国的民权问题。作为美国黑人状况的记录者，他总能发现令人意想不到的和乐观的一面，而且往往是在那些最严酷的环境下。

 He followed the years of struggle against segregation and discrimination by the National Association for the Advancement of Colored People (NAACP), photographing Martin Luther King Jr and his great march across the US from Alabama to Washington; equally, his image of children playing around a water hydrant in New York became an icon, along with those of daily life in that city, still effectively segregated by ghettoisation in the 1950s and 60s.

 他紧跟全国有色人种协进会多年来反对种族隔离和歧视的斗争，拍摄了马丁·路德·金及其从阿拉巴马州到华盛顿穿越美国的大游行；同样，他在纽约拍摄的在水栓旁玩耍的儿童的照片与纽约日常生活的照片一起成为了一种象征。由于实行强迫集中居住，纽约在二十世纪五、六十年代实际上仍然处于种族隔离状态。

 Freed spent years photographing behind the scenes with the police department in the 1970s; when his famous resulting exhibition, The Spectre of Violence, was shown at London's Photographers' Gallery in 1973 it was as though the viewers were coming upon the actual scene of a murder. They entered the gallery through black curtains, and a flash went off as they found a corpse at the bottom of a stairwell; the surrounding scenes were mounted on hardboard backing, dramatically involving the audience in a lifesized restaging.

 二十世纪七十年代，弗里德常年跟随警察部门进行暗中拍摄。1973年，他在伦敦摄影家画廊展举办了著名的成果展览《暴力的幽灵》，观众们仿佛置身于真实的谋杀现场。他们穿过黑色幕布走进画廊，当发现楼梯间底部横陈的一具尸体时，灯光突然熄灭；周围的场景都置于硬纸衬板之上，令观众戏剧性地进入实景重现当中。

 Stylistically, this series was in the arresting, flashlit tradition of an earlier New York photographer, Weegee (Arthur Fellig). But 1972 was also the year in which Freed joined Magnum, the Paris-based photo agency founded in 1948 by Bob Capa, George Rodger, "Chim" Seymour and Henri Cartier-Bresson. It was to be a lifelong relationship, for Magnum photographers have always adhered to their own humanistic precepts and social awarenesses.

 从风格上来说，这一系列作品继承了早期纽约摄影家维加（亚瑟·费宁）的传统，画面引人入胜，擅长使用闪光灯。但也就是在1972年，弗里德加入了玛格南图片社。该图片社是1948年罗伯特·卡帕、乔治·罗杰、“奇姆”·西摩和亨利·卡蒂埃-布勒松在巴黎创建的。一经加入就是终身的事情，因为玛格南摄影师一贯坚持他们自己的人文主义准则和社会意识。

 Preferring - like most of his fellow Magnum members - to work in black and white, and using available light, Freed contributed to the key picture magazines of the postwar period, including Life, Look, Fortune, Libération, L'Express, GEO, Paris-Match, Die Zeit, Der Spiegel and the Sunday Times magazine. He also shot four films for Dutch, Belgium and Japanese television, including The Negro in America (1968) and Joey Goes to Wigstock (1992).

 与大多数玛格南同事一样，弗里德更喜欢拍摄黑白照片，使用现场光。他给战后的主要图片杂志都投过稿，包括《生活》、《展望》、《财富》、《解放》、《快报》、《地球》、《巴黎竞赛画报》、《时代周刊》、《明镜》和《星期日时报》。他还为荷兰、比利时和日本电视台拍摄了四部影片，包括《美洲黑人》（1968）和《Joey Goes to Wigstock》（1992）。

 Born into a humble Jewish family of East European extraction in Brooklyn, Freed originally wanted to become an artist. He attended the New School and studied with the legendary art director of Harper's Bazaar, Alexey Brodovitch - and it was in Brodovitch's "design laboratory" that Freed discovered his true vocation. As soon as he finished his studies, he took off for two years, hitch-hiking through Europe and north Africa. This led in 1959 to his first book, Joden von Amsterdam (Jews of Amsterdam), a first one-man photo exhibition, at Hilversum in the Netherlands, and his decision to become a full-time freelancer shortly afterwards.

 弗里德出生于布鲁克林一个具有东欧血统的下层犹太人家庭，最初想成为一名画家。他就读于新学院，师从于传奇人物《哈泼氏百货商店》的艺术总监阿历克斯·布罗多里奇——并且就是在布罗多里奇的“设计实验室”中，弗里德找到了自己的真正职业。他毕业后没有马上工作，而是利用两年时间搭乘汽车游历了欧洲和北非。由于这次经历，1959年，他出版了第一本书《阿姆斯特丹的犹太人》，在荷兰希尔弗瑟姆举办了第一次个人图片展，随后不久他决定做一名全职的自由职业者。

 The interest in the Jewish diaspora and in Israel became a revisited theme for Freed. In 1965 he published Deutsche Juden Heute (German Jews Today), and in 1967 and 1973 he covered the six-day and Yom Kippur wars in the Middle East. There followed Black and White in America (1968); Seltsame Spiele (Strange Games, together with Shinkichi Tajiri, 1970); Made in Germany (1970); Police Work (1980; expanded as New York Police, 1990); and a major retrospective work, Leonard Freed: Photographies 1954-1990 (1991).

 对犹太移民社区和以色列的关注成为弗里德一再探讨的主题。1965年，他出版了《今日德国犹太人》，1967年和1973年，他采访了中东六日战争和赎罪日战争。随后出版了《美洲的黑人与白人》（1968）、《奇怪游戏》（与Shinkichi Tajiri合著，1970），《德国制造》（1970），《警察工作》（1980；1990年扩充为《纽约警察》）；以及一部主要回顾性作品，《莱昂纳德·弗里德：摄影1954-1990》（1991）。

 Exhibitions accompanied and alternated with the books and films. These ranged from What is Man?, shown at the Benedictine convent at Cockfosters, north London, to Native Americans, a group show at the state capitol building in Albany, New York. The former was cast in the mould of The Family of Man, Edward Steichen's travelling exhibition which intended to demonstrate, less than a decade after the second world war, that "People are people the world over: everywhere different and everywhere the same." Perhaps What is Man was Freed's response to Steichen, who, as director of the Museum of Modern Art, had first told Freed that he was one of the three best emerging photographers he had met. Purchasing three images for his prestigious collection there, Steichen warned Freed that the other two had "turned commercial" and that he should either remain an amateur or "preferably, become a truck driver".

 举办展览的同时，他还出版图书和拍摄影片，交替进行。这些展览涉及范围很广：从在伦敦北部柯克佛斯特本笃会修道院展出的《人是什么？》到在纽约奥尔巴尼州政府大楼举办的群展《美洲土著居民》。前者是按照爱德华·斯泰肯的巡回展《人类大家庭》的模式举办的。《人类大家庭》旨在展示第二次世界大战结束后的不到十年里“天下一家：处处不同处处同。”也许《人是什么？》是弗里德对斯泰肯做出的回应。担任现代艺术博物馆摄影部主任的斯泰肯首先告诉弗里德，他是他所遇到的最棒的三名摄影新秀之一。斯泰肯为大名鼎鼎的博物馆买下了三幅作品，他告诫弗里德，另两名摄影新秀已经“很商业化了”，他要么仍然做一名业余爱好者，要么“最好去做一名卡车司机。”

 Clearly, Freed chose neither option, determining instead to turn his vocation into a career. At the 1967 opening of the Concerned Photographer exhibition, curated by Cornell Capa and in which he showed with five of his peers, he announced: "Suddenly, I feel as if I belong to a tradition. To see life, see the world, be witness to great events, peer into the faces of the poor, the mad, to understand the shadows of the jungle, hidden things, to see, to rejoice in seeing, to be spiritually enriched." It was a journey that took him to document Asian immigrants in Newcastle and oil workers in the North Sea, travellers in eastern Europe and Hassidic communities and black people in New York slums - always pursuing content and context over form and subjectivity.

 显然，弗里德没有选择这两条路，而是决定把自己的这项职业变成终生事业。1967年科内尔·卡帕组织了《关心人类的摄影家》展览，弗里德和他的五名同行一同参展。在开幕式上，弗里德宣布：“突然，我感觉我似乎属于一个传统。要了解生活，洞察世界，亲历大事，透视穷人、疯子的面孔，解读丛林的暗影、隐蔽之物，去观察，去享受察物之乐，使精神得到充实。”当年的一段旅途让他记录了在纽卡斯尔的亚洲移民和北海的石油工人、东欧和犹太教哈西德派社区的旅行者以及纽约贫民窟的黑人——体现出其对超越形式和主观性的内容及情境的一贯追求。

 Sue Davies, founder director of London's Photographers' Gallery, has informal memories of how Freed spent time in London in the early 1970s - "in my family album I have a picture he took at a wedding reception of my husband John waving a chicken leg in the air."

 伦敦摄影家画廊的创始主任苏·戴维斯保留着对二十世纪七十年代初弗里德在伦敦的日常生活的记忆——“在我的家庭相册里有一张他拍摄的照片，是我丈夫约翰在一次婚宴上挥着一只鸡腿。”

 Jimmy Fox, picture editor at Magnum's Paris office, recalls the small, dark, crinkle-haired man with big glasses thus: "During 38 years Leonard Freed was always polite, efficient, cooperative and smiling. He was open to other opinions and had a great interest in human behaviour, without being malicious or self-appropriating. The description 'Concerned photographer' fitted him like a glove."

 玛格南图片社巴黎总部图片编辑吉米·福克斯这样回忆这个个头矮小、皮肤黝黑、一头卷发、戴着大眼镜的男人：“38年中，莱昂纳德·弗里德总是彬彬有礼，办事利落，乐于合作，笑口常开。他乐于听取他人意见，对人类行为怀有强烈的兴趣，从无恶意和自以为是。‘关心人类的摄影家’这一称谓对他是再合适不过了。”

 Freed himself claimed that "Photography is still in its infancy ... challenging in that [it leaves] one free to be original." But, in truth, he and his Magnum colleagues are among those who brought the medium to maturity. He is survived by his wife, Brigitte Klueck, whom he married in 1958, and daughter Elke.

 弗里德个人认为，“摄影仍然处于初级阶段……令人跃跃欲试，因为[它使人]拥有原创的自由。”但事实上，正是他以及玛格南的同事们等广大摄影人令摄影走向成熟。他和布丽奇特·克吕克1958年结婚，身后留下妻子和女儿埃尔克。

 · Leonard Freed, photographer, born October 23 1929; died November 11 2006

 摄影家莱昂纳德·弗里德生于1929年10月23日，卒于2006年11月11日。