所以我只能自己猜想应该怎么做，并且拍摄我自己的照片以及8毫米和16毫米的特效影片。
So I had to guess how things were done and shoot my own stills and 8mm and 16mm effects movies.
不幸的是，像这样的拍摄我也只能偶尔来一两次，因为前往格陵兰岛以及在这里逗留的旅行成本非常高昂。
Unfortunately I'm only able to capture images like this from time to time as the travel costs of getting to, and staying in, Greenland are very expensive.
比较稍后往后的年我将会拍摄我的男孩杰克并且再一次完全地被震颤处理这个奇妙的和非常感人的手写体。
Later next year I will film MY BOY JACK and again am completely thrilled to be working on this fantastic and very moving script.
所以我跟导演说了，他已经在拍摄我本应出现在里面的一场戏了，我想，老天啊，他们已经开工了，已经需要我了。
So I spoke to the director, as he was shooting a scene I was supposed to be in, and I thought, Christ, they're working, they really need me already.
我决定尝试拍摄一只狐狸从灌木丛中偷窥的一个更自然的镜头。
I decided to try for a more natural shot of a fox peering from the bushes.
拍摄的时候我经过中央车站。不过我不知道他们在拍什么。
I've passed through Grand Central Station when filming was happening. I don't know what they were filming though.
尽管我的照相机无法完全拍摄到它的明亮和彩色，我仍然喜欢这张照片。
Although my camera did not quite capture how bright and colorful it was in person, I still like the photo.
我的翻译是一名医生，他和我执行拍摄孕产妇的健康和死亡问题的任务。
My interpreter, who is a doctor, and I were on a mission to photograph maternal health and mortality issues.
我的想法是，在为时已晚之前，作为最后的目击者，将这条美丽而独特的海岸线拍摄下来。
My idea was to photograph this beautiful and very unique coastline, before it's too late—as a last witnesses.
你在书中写道：“我不想拍摄灾难，我想拍摄即将要发生的灾难的照片。”
You wrote in the book: "I don't want to photograph the disaster, I want to photograph the disaster waiting to happen."
我在她母亲四十岁生日时拍摄的。
我不行——按规定，照片必须用传统相机拍摄。
I can't—the rules say the photos have to be taken with a traditional camera.
我回到了我的家乡麦克莱斯菲尔德，拍摄了一些冬天的照片。
I was back in my home town of Macclesfield to take some winter images.
我与熊猫的联系要追溯到20世纪80年代中期，那时我在一个电视节目上作为西方电视记者，首次被允许拍摄一个这样的特别机构，它们护理从野外的饥饿中解救出来的熊猫。
My connection with pandas goes back to my days on a TV show in the mid-1980s, when I was the first Western TV reporter permitted to film a special unit caring for pandas rescued from starvation in the wild.
它们是用我的华为手机拍摄的。
大约在这张照片拍摄后一个月，我成了一名小学生。
About one month after this picture was taken, I became a primary school student.
现在，我们将在后面更详细地介绍这些概念。但是你应该知道，我不希望你只是拍摄在舞台上的舞者，然后把它当成你的银幕舞蹈项目来提交。
Now, we'll cover these concepts in greater detail later, but you should be getting the idea that I don't want you to just film dancers on stage and turn it in as your screen dance project.
我都观察拍摄它好多年了。
这张照片是我2010年拍摄的，直到今天仍是我最喜爱的海滨照片之一。
Here's a shot I took in 2010 that remains one of my favourite coastal shots to date.
我喜欢拍摄海水漫过的岩石，在任何给定的时间，潮水都会告诉我那些岩石适合拍摄。
I tend to use interesting rock formations with water flowing over them in my shots and often the tide dictates which ones are suitable to shoot at any given time.
还有就是每一次我拍摄它们的时候，我就会为我怎样把他们拍得更有活力或者如果实现更不同寻常的姿势而涌现新的主意。
The problem is that each time I do a shoot with them, I come up with new ideas for how I might make them more dynamic or achieve more unusual positions.
1969年，在电影《发条橙》拍摄期间，我拍下了这张照片。
I took this in 1969, during the filming of a Clockwork Orange.
如果我在同一个场景、没有考虑光线就进行拍摄，我所得到的无疑是一张逊色不少的相片。
Had I photographed the same scene without considering light, I could have very well ended up with something much less dramatic.
当我把相机举在眼前时——即使我习惯睁开双眼取景拍摄——我的视线已经变得非常狭窄了，这样很糟。
When I put a camera to my eye, even though I typically shoot with both eyes open, I get tunnel vision, bad.
詹森分享了一些直升机拍摄以及3d照片的拍摄技巧：“我通常会搭乘欧洲直升机公司的AS355五座直升机进行拍摄。”
Jason shares some tips for shooting from a helicopter, as well as making images in 3d: "I normally fly in a Eurocopter AS355 which is a five seater machine."
詹森分享了一些直升机拍摄以及3d照片的拍摄技巧：“我通常会搭乘欧洲直升机公司的AS355五座直升机进行拍摄。”
Jason shares some tips for shooting from a helicopter, as well as making images in 3d: "I normally fly in a Eurocopter AS355 which is a five seater machine."
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