life in pictures 52 life in pictures ATTENBOROUGH

ﻳﻌﺘﺒﺮ دﻳﻔﻴﺪ أﺗﻨﺒﺮه أﺣﺪ أﺳﺎﻃﻴﺮ ﻓﻦ ﺗﻘﺪﻳﻢ اﻟﺒﺮاﻣﺞ Sir David Attenborough is an icon of natural اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﺘﺎرﻳﺦ اﻟﻄﺒﻴﻌﻲ. ﻧﺴﺘﻌﺮض history broadcasting. Here we feature a selected chronology of his series, together ﻣﻌﻜﻢ ﻣﻘﺘﻄﻔﺎت ﻣﺨﺘﺎرة ﻟﻠﺤﻠﻘﺎت اﻟﺘﻲ أﺑﺪﻋﻬﺎ ﺣﺴﺐ with key moments and innovators that اﻟﺘﺴﻠﺴﻞ اﻟﺰﻣﻨﻲ، ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ ﻣﺮاﺣﻠﻬﺎ اﻟﺤﺎﺳﻤﺔ .have made some of these possible واﻟﻤﺒﺘﻜﺮﻳﻦ اﻟﺬﻳﻦ أﺳﻬﻤﻮا ﻓﻲ ﺗﻨﻔﻴﺬﻫﺎ. By funding these epics, the BBC’s Natural History Unit has أﺗﺎﺣﺖ وﺣﺪة اﻟﺘﺎرﻳﺦ اﻟﻄﺒﻴﻌﻲ ﻟﻬﻴﺌﺔ اﻹذاﻋﺔ اﻟﺒﺮﻳﻄﺎﻧﻴﺔ «ﺑﻲ ﺑﻲ ﺳﻲ» afforded the crew ambitious filming challenges, pushing ﻋﺒﺮ ﺗﻤﻮﻳﻠﻬﺎ ﻹﻧﺘﺎج ﻫﺬه اﻟﺤﻠﻘﺎت اﻟﻤﻠﺤﻤﻴﺔ، ﻟﻄﻮاﻗﻢ ﺗﺼﻮﻳﺮ ﺗﻠﻚ اﻟﺤﻠﻘﺎت them to innovate and capture ever more specialised اﻟﻘﺪرة ﻋﻠﻰ ﻣﻮاﺟﻬﺔ اﻟﺘﺤﺪﻳﺎت ودﻓﻌﺘﻬﻢ ﻟﻼﺑﺘﻜﺎر ﻻﻟﺘﻘﺎط أﻛﺜﺮ ﻣﺸﺎﻫﺪ .pieces of footage اﻟﺘﺼﻮﻳﺮ إﺑﺪاﻋﺎً. In an interview on the making of The Living Planet, وﻓﻲ ﻣﻘﺎﺑﻠﺔ ﺣﻮل ﻣﺠﺮﻳﺎت ﺗﺼﻮﻳﺮ ﺣﻠﻘﺎت ﻣﺴﻠﺴﻞ اﻟﻜﻮﻛﺐ اﻟﺤﻲ Attenborough was self-effacing concerning his own «ﻟﻴﻔﻴﻨﺞ ﺑﻼﻧﻴﺖ»، ﺑﺪا أﺗﻨﺒﺮه ﺷﺪﻳﺪ اﻟﺘﻮاﺿﻊ ﺑﺨﺼﻮص ﻣﺴﺎﻫﻤﺘﻪ ﻓﻲ contribution: “It’s not too difficult to walk on to a rock and ذﻟﻚ اﻟﻌﻤﻞ وﻗﺎل: «ﻟﻴﺲ ﻣﻦ اﻟﺼﻌﺐ ﺟﺪاً اﻋﺘﻼء ﺻﺨﺮة واﻟﻨﻈﺮ إﻟﻰ look at a camera and say something. The difficulties are اﻟﻜﺎﻣﻴﺮا واﻟﺘﺤﺪث أﻣﺎﻣﻬﺎ. ﻟﻜﻦ اﻟﺼﻌﻮﺑﺎت اﻟﺤﻘﻴﻘﻴﺔ ﻫﻲ ﺗﻠﻚ اﻟﺘﻲ ﻳﻮاﺟﻬﻬﺎ ,those that are encountered by the cameramen, directors اﻟﻤﺼﻮرون واﻟﻤﺨﺮﺟﻮن وﻣﻬﻨﺪﺳﻮ اﻟﺼﻮت، اﻟﺬﻳﻦ ﻳﻀﻄﺮون ﻓﻲ اﻟﻮاﻗﻊ إﻟﻰ and recordists, who actually have to get an animal doing اﻟﺘﻘﺎط ﺻﻮر ﻟﺤﻴﻮان ﻳﻘﻮم ﺑﺸﻲء ﻣﺎ ﻟﻢ ﻳﺴﺒﻖ ﻷﺣﺪ ﻣﺸﺎﻫﺪﺗﻪ ﻋﻠﻰ اﻹﻃﻼق، something which perhaps nobody’s ever even seen ﻷن ذﻟﻚ ﻳﻌﺘﺒﺮ ﻣﻦ أﺻﻌﺐ اﻟﺘﺤﺪﻳﺎت.» ”.before. Those are extremely difficult things to do

Zoo Quest 1956

Charles Lagus was the BBC’s first natural history cameraman, working with Attenborough on the broadcaster’s initial nature series, Zoo Quest.

“We simply disappeared for four to six months at a time, armed with nothing more than a couple of letters of introduction and our pockets stuffed with dollar bills. It was just the two of us.” David Attenborough

ﻛﺎن «ﺗﺸﺎرﻟﺰ ﻻﺟﻮس» أول ﻣﺼﻮري اﻟـ «ﺑﻲ ﺑﻲ ﺳﻲ» ﻓﻲ ﻣﺠﺎل اﻟﺘﺎرﻳﺦ اﻟﻄﺒﻴﻌﻲ، وﻛﺎن ﻳﻌﻤﻞ ﻣﻊ أﺗﻨﺒﺮه ﻓﻲ ﺗﺼﻮﻳﺮ أوﻟﻰ ﺣﻠﻘﺎت ﻣﺴﻠﺴﻼﺗﻪ ﻋﻦ اﻟﺘﺎرﻳﺦ اﻟﻄﺒﻴﻌﻲ «زو ﻛﻮﻳﺴﺖ».

وﻳﻘﻮل أﺗﻨﺒﺮه: «ﻛﻨﺎ ﺑﺒﺴﺎﻃﺔ ﻧﻐﻴﺐ ﻋﻦ اﻷﻧﻈﺎر ﻟﻔﺘﺮات ﺗﺘﺮاوح ﺑﻴﻦ أرﺑﻌﺔ وﺳﺘﺔ ﺷﻬﻮر ﻓﻲ ﻛﻞ ﻣ ﺮة ، وﻧﺤﻦ ﻻ ﻧﻤﻠﻚ ﺳﻮى ﺑﻀﻊ رﺳﺎﺋﻞ ﺗﻌﺮﻳﻒ وﺟﻴﻮﺑﺎً ﻣﻠﻴﺌﺔ ﺑﺎﻟﺪوﻻرات اﻷﻣﺮﻳﻜﻴﺔ. وﻛﻨﺎ ﻧﺤﻦ اﻻﺛﻨﻴﻦ ﻓﻘﻂ.»

Papua New Guinea, 1957 © BBC

oryxin ightmagazine.com life in pictures 53 © John Sparks / naturepl.com

Life on Earth 1979

ﻛﺎﻧﺖ ﺣﻠﻘﺎت ﻣﺴﻠﺴﻞ اﻟﺤﻴﺎة ﻋﻠﻰ اﻷرض Life on Earth was the first of the epic «ﻻﻳﻒ أون إ ﻳﺮث» أوﻟﻰ اﻟﺤﻠﻘﺎت اﻟﻤﻠﺤﻤﻴﺔ Life series, telling the story of the اﻟﺘﻲ أﺑﺪﻋﻬﺎ أﺗﻨﺒﺮه، وﻛﺎﻧﺖ ﺗﺮوي ﻗﺼﺔ ﺗﻄﻮر evolution of life on the planet within اﻟﺤﻴﺎة ﻋﻠﻰ ﻛﻮﻛﺒﻨﺎ ﻓﻲ ﺛﻼث ﻋﺸﺮة ﺣﻠﻘﺔ .50-minute programmes 13 ﺗﺴﺘﻤﺮ ﻛﻞ ﻣﻨﻬﺎ ٥٠ دﻗﻴﻘﺔ. وﻛﺎن ذﻟﻚ At the time, it was the most اﻟﻤﺴﻠﺴﻞ ﻓﻲ ﺣﻴﻨﻪ أﻛﺜﺮ اﻟﻤﺴﻠﺴﻼت اﻟﺘﻲ ambitious series ever produced أﻧﺘﺠﺘﻬﺎ وﺣﺪة اﻟﺘﺎرﻳﺦ اﻟﻄﺒﻴﻌﻲ ﻓﻲ «ﺑﻲ ﺑﻲ .by the BBC’s Natural History Unit ﺳﻲ» ﻃﻤﻮﺣﺎً. Cameraman Martin Saunders وﻗﺎم اﻟﻤﺼﻮر ِ«ﻣﺎرﺗﻦ ﺳﻮﻧﺪرز» ﺑﺘﺼﻮﻳﺮ ﺑﻌﺾ captured some of the most أﻛﺜﺮ اﻟﻔﻘﺮات روﻋﺔ ﻓﻲ اﻟﻤﺴﻠﺴﻞ، ﺑﻤﺎ ﻓﻲ ,memorable sequences of the series ذﻟﻚ ﻟﻘﺎء أﺗﻨﺒﺮه ﻣﻊ أﺳﺮة ﻣﻦ ﻗﺮدة اﻟﻐﻮرﻳﻠﻼ including Attenborough’s now اﻟﺠﺒﻠﻴﺔ. infamous meeting with a family of mountain gorillas. وﻗﺎل ِﻣﺎرﺗﻦ ﺣﻮل ﺗﻠﻚ اﻟﻠﺤﻈﺎت: «ﻟﻘﺪ أﻗﺒﻠﻮا © BBC Life on Earth ﺑﺎﻟﻄﺒﻊ ﻋﻠﻰ دﻳﻔﻴﺪ وأﺧﺬوا ﻳﺘﻔﺎﻋﻠﻮن ﻣﻌﻪ. And then, of course, they came up“ وأﻋﺘﻘﺪ أن ﻣﺎ ﻧﺴﻴﻪ اﻟﻨﺎس ﻫﻮ أﻧﻨﺎ ﻛﻨﺎ ﻓﻲ .to David and started interacting اﻟﻮاﻗﻊ ﻓﻲ ﻏﺎﺑﺎت رواﻧﺪا اﻟﻤﻄﻴﺮة ﺑﺮﻓﻘﺔ Well, I think what was forgotten was أﺳﺮة ﻣﻦ اﻟﻐﻮرﻳﻠﻼ ﺗﺘﺪﺣﺮج ﻋﻠﻰ اﻷرض ﻣﻊ that we were actually there in the دﻳﻔﻴﺪ. ﻓﻘﻠﺖ ﻓﻲ ﻧﻔﺴﻲ ﻻ ﺑﺪ ﻟﻲ ﻣﻦ ﺗﺼﻮﻳﺮ ,wild, in the rainforest of Rwanda ﻫﺬا اﻟﻤﺸﻬﺪ، واﺳﺘﺨﺪﻣﺖ ﻗﺮاﺑﺔ ١٠٠ ﻗﺪم with a wild family of gorillas, and ﻣﻦ ﺷﺮﻳﻂ اﻷﻓﻼم واﺳﺘﻐﺮق اﻟﻤﺸﻬﺪ ﻧﺤﻮ there they were rolling around with دﻗﻴﻘﺘﻴﻦ وﻧﺼﻒ اﻟﺪﻗﻴﻘﺔ.» David. I said, ‘I’ve really got to film this’ and he said, ‘Oh right, run 100 feet on it’, which is about 2 and a half minutes.”

worldí s 5- star airline life in pictures 54

I just wish the world was twice as big and half of it was still unexplored. Sir David Attenborough © PETER SCOONES / naturepl.com

oryxinflightmagazine.com The Trials of Life 1990

Following the Emmy Award-winning The Living Planet (1984), Trials of Life was the final of the Life series trilogy. It took over three-and-a-half years to film, during which time Attenborough travelled almost a quarter of a million miles. A television first, the bubble helmet allowed Attenborough to be seen and narrate clearly.

ﻓﻲ أﻋﻘﺎب ﻣﺴﻠﺴﻞ اﻟﻜﻮﻛﺐ اﻟﺤﻲ اﻟﺬي ﻓﺎز ﺑﺠﺎﺋﺰة «إﻳﻤﻲ» (١٩٨٤)، ﻛﺎن ﻣﺴﻠﺴﻞ ِﻣ َﺤﻦ اﻟﺤﻴﺎة «ﺗﺮﻳﺎل أوف ﻻﻳﻒ» آﺧﺮ ﻣﺴﻠﺴﻞ ﻓﻲ ﺛﻼﺛﻴﺔ ﻣﺴﻠﺴﻼت اﻟﺤﻴﺎة اﻟﺘﻲ اﺳﺘﻐﺮق ﺗﺼﻮﻳﺮﻫﺎ ﺛﻼﺛﺔ أﻋﻮام وﻧﺼﻒ اﻟﻌﺎم، واﻟﺘﻲ اﺿﻄﺮ أﺗﻨﺒﺮه ﻟﻠﺴﻔﺮ ﻟﻤﺴﺎﻓﺔ رﺑﻊ ﻣﻠﻴﻮن ﻣﻴﻞ ﺗﻘﺮﻳﺒﺎً ﻟﺘﻨﻔﻴﺬﻫﺎ. وﻓﻲ ﻇﺎﻫﺮة ﻫﻲ اﻷوﻟﻰ ﻣﻦ ﻧﻮﻋﻬﺎ ﻋﻠﻰ ﺷﺎﺷﺎت اﻟﺘﻠﻔﺰﻳﻮن، ﻛﺎن أﺗﻨﺒﺮه ﻳﻌﺘﻤﺮ ﺧﻮذة ﺷﻔﺎﻓﺔ ﻓﻘﺎﻋﻴﺔ اﻟﺸﻜﻞ ﺗﺘﻴﺢ ﻣﺸﺎﻫﺪﺗﻪ ﺑﻮﺿﻮح وﻫﻮ ﱢﻳﻌﻠﻖ ﻋﻠﻰ اﻟﻤﺸﺎﻫﺪ اﻟﺘﻲ ﻳﺘﻢ ﺗﺼﻮﻳﺮﻫﺎ. © NEIL NIGHTINGALE / naturepl.com

The Private Life of Plants 1995

ﻧﺠﺢ أﺗﻨﺒﺮه ﻓﻲ أول ﻣﺴﻠﺴﻼت اﻟﺤﻴﺎة اﻟﺴﺒﻌﺔ اﻷﻛﺜﺮ ﺗﺨﺼﺼﺎً اﻟﺘﻲ In the first of his more specialised Life series – which produced seven series over 13 years, culminating in Life أﺑﺪﻋﻬﺎ ﻋﻠﻰ ﻣﺪى ١٣ ﻋﺎﻣﺎً واﻟﺘﻲ ﱠﺗﻮ َﺟﻬﺎ ﺑﻤﺴﻠﺴﻞ اﻟﺤﻴﺎة ٍﺑﺪم ﺑﺎرد «ﻻﻳﻒ إن ﻛﻮﻟﺪ ﺑﻠﻮد» ﻋﺎم ٢٠٠٨، ﻓﻲ ﺗﺴﻠﻴﻂ اﻷﺿﻮاء ﻋﻠﻰ ﻋﺎﻟﻢ in Cold Blood, 2008 – Attenborough brought the world اﻟﻨﺒﺎت ﻣﺴﺘﺨﺪﻣﺎً ﺗﻘﻨﻴﺎت ﻣﺒﺘﻜﺮة ﻣﺜﻞ اﻟﺘﺼﻮﻳﺮ اﻟﻤﺘﺴﻠﺴﻞ زﻣﻨﻴﺎً of plants to life using innovations such as time-lapse ﺑﺮﻓﻘﺔ اﻟﻤﺼﻮر اﻟﺴﻴﻨﻤﺎﺋﻲ «رﻳﺘﺸﺎرد ﻛﻴﺮﺑﻲ». .photography with cinematographer Richard Kirby

وأوﺿﺢ أﺗﻨﺒﺮه ﺑﻘﻮﻟﻪ: «ﻛﻴﻒ ﻧﺴﺘﻄﻴﻊ ﻛﺘﺎﺑﺔ اﻟﺘﻌﻠﻴﻘﺎت اﻟﺪراﻣﻴﺔ How could you construct the dramatic narratives“ ﻟﻤﺴﻠﺴﻞ وﺛﺎﺋﻘﻲ ﺗﻠﻔﺰﻳﻮﻧﻲ ﻧﺎﺟﺢ إذا ﻛﺎﻧﺖ ﺷﺨﺼﻴﺎﺗﻪ اﻟﺮﺋﻴﺴﻴﺔ needed for a successful television documentary series ﱢﻣﺘﺠﺬ َرة ﻓﻲ اﻷرض وﻻ ﺗﻜﺎد ﺗﺘﺤﺮك؟ وﺣﻴﻦ ﻓﻜﺮت ﺑﺎﻷﻣﺮ ﺗﺬﻛﺮت ﻓﺠﺄة if your main characters are rooted to the ground and أن اﻟﻨﺒﺎﺗﺎت ﺗﺘﺤﺮك ﻓﻲ اﻟﻮاﻗﻊ وﺑﺸﻜﻞ ﻧﺸﻂ ﺟﺪاً أﻳﻀﺎً.» barely move?” explains Attenborough. “Thinking about this, it suddenly struck me that plants do move, and very dramatically.” © Mark Brownlow / naturepl.com

Richard Kirby shooting time-lapse footage in southern Venezuela for Planet Earth, 2009.

world’s 5-star airline life in pictures 56 © David Shale / naturepl.com

The Blue Planet 2001

This landmark series on the world’s oceans took almost five years to make, involving nearly 200 filming locations, and the use of state-of-the-art submersibles, capable of reaching depths of 1,000 metres.

اﺳﺘﻐﺮق إﻧﺘﺎج اﻟﻤﺴﻠﺴﻞ اﻟﺸﻬﻴﺮ ﻋﻦ ﻣﺤﻴﻄﺎت اﻟﻌﺎﻟﻢ ﻧﺤﻮ ﺧﻤﺴﺔ أﻋﻮام، وﺗﻢ ﺗﺼﻮﻳﺮه ﻓﻲ ﻧﺤﻮ ٢٠٠ ﻣﻮﻗﻊ ﺑﺎﺳﺘﺨﺪام أﻛﺜﺮ اﻟﻐﻮاﺻﺎت اﻟﻌﻠﻤﻴﺔ ﺗﻄﻮراً واﻟﺘﻲ ﺗﺴﺘﻄﻴﻊ اﻟﻐﻮص إﻟﻰ ﻋﻤﻖ ١٠٠٠ ﻣﺘﺮ. © Martin Dohrn / naturepl.com

Planet Earth 2006

The most expensive documentary series ever ﻛﺎﻧﺖ اﻟﻤﺴﻠﺴﻼت اﻟﺘﻲ ﺗﻢ إﻧﺘﺎﺟﻬﺎ ﻓﻲ ﻫﺬه اﻟﻤﺮﺣﻠﺔ أﻏﻠﻰ made, many of the filming techniques first used اﻟﻤﺴﻠﺴﻼت اﻟﻮﺛﺎﺋﻘﻴﺔ ﺗﻜﻠﻔﺔ ﻋﻠﻰ اﻹﻃﻼق، واﺳﺘﺨﺪﻣﺖ ﻓﻴﻬﺎ on Planet Earth, such as the Heligimbal – the ﺗﻘﻨﻴﺎت ﺗﺼﻮﻳﺮ ﺳﺒﻖ اﺳﺘﺨﺪاﻣﻬﺎ ﻟﻠﻤﺮة اﻷوﻟﻰ ﻓﻲ ﻣﺴﻠﺴﻞ gyroscopically-stabilised helicopter camera that ﻛﻮﻛﺐ اﻷرض ﻣﺜﻞ ﻛﺎﻣﻴﺮا «ﻫﻴﻠﻴﺠﻴﻤﺒﺎل» ذاﺗﻴﺔ اﻟﺘﻮازن allows steady footage to be captured from واﻟﻤﺜﺒﺘﺔ إﻟﻰ ﻃﺎﺋﺮات اﻟﻬﻴﻠﻴﻜﻮﺑﺘﺮ واﻟﺘﻲ ﺗﺘﻴﺢ ﺗﺼﻮﻳﺮاً ﻣﺴﺘﻘﺮاً long-range – were developed further. ﻟﻤﺸﺎﻫﺪ ﺑﻌﻴﺪة ﺟﺪاً ﺧﻼل اﻟﻄﻴﺮان.

Another first was the use of the FrankenCam, a وﻣﻦ اﻟﺘﻘﻨﻴﺎت اﻟﻤﺘﻄﻮرة اﻷﺧﺮى اﻟﺘﻲ ﺗﻢ اﺳﺘﺨﺪاﻣﻬﺎ ﻟﻠﻤﺮة motion-control macro camera developed by serial اﻷوﻟﻰ ﻓﻲ ﺗﻠﻚ اﻟﻤﺮﺣﻠﺔ، ﻛﺎﻣﻴﺮا ِ«ﻓﺮاﻧﻜﻦ ﻛﺎم» وﻫﻲ ﻛﺎﻣﻴﺮا innovator Martin Dohrn, capable of shooting ﻣ َﺘ َﺤ ﱠﻜﻢ ﺑﺤﺮﻛﺘﻬﺎ ﻗﺎم ﺑﺘﻄﻮﻳﺮﻫﺎ اﻟﺨﺒﻴﺮ ِاﻟﻤﺒﺘﻜﺮ ِ«ﻣﺎرﺗﻦ دورن» .extreme close-ups of tiny subjects ُ ﻻﻟﺘﻘﺎط أﻓﻼم ُﻣ َﻜ ﱠﺒﺮة ﻟﻠﻐﺎﻳﺔ ﻷﻫﺪاف ﻣﺘﻨﺎﻫﻴﺔ ﱢاﻟﺼ َﻐﺮ.

Innovation is a way of solving problems, and in“ وﻗﺎل ﻣﺎرﺗﻦ دورن: «ﻳﻌﺘﺒﺮ اﻻﺑﺘﻜﺎر وﺳﻴﻠﺔ ﻟﺤﻞ اﻟﻤﺸﺎﻛﻞ، the natural world there is a great diversity of وﻳﻀﻢ اﻟﻌﺎﻟﻢ اﻟﻄﺒﻴﻌﻲ ﻋﺪداً ﻻ ﺣﺼﺮ ﻟﻪ ﻣﻦ اﻷﺟﻨﺎس اﻟﻤﺘﻨﻮﻋﺔ ”.species, and a great diversity of problems to solve وﻳﻮاﺟﻬﻨﺎ ﺑﺎﻟﺘﺎﻟﻲ ﺑﻌﺪد ﻛﺒﻴﺮ ﻣﻦ ﺷﺘﻰ اﻟﺼﻌﻮﺑﺎت ﺣﻴﻦ ﻧﺤﺎول Martin Dohrn © Ben Osborne / naturepl.com ﺗﺼﻮﻳﺮ ﻣﺸﺎﻫﺪه.»

oryxin ightmagazine.com life in pictures 57

Life 2009

Following the pioneering use of In Life, expedition crews filmed stabilised helicopter-mounted several sequences that had never cameras, the Life crew succeeded been seen before, including footage in using gyroscopic stabilisation of a pod of bottlenose dolphins, from moving vehicles, allowing which have learned a unique hunting the cameras to track alongside technique called mud-ring feeding herds for the first time. in the muddy waters of Florida Bay.

أﺗﺎح اﻻﺳﺘﺨﺪام اﻟﻨﺎﺟﺢ ﻟﻠﻜﺎﻣﻴﺮات ذاﺗﻴﺔ ﻛﻤﺎ ﻧﺠﺤﺖ ﻃﻮاﻗﻢ اﻟﺘﺼﻮﻳﺮ ﺑﺘﺼﻮﻳﺮ اﻟﻌﺪﻳﺪ اﻟﺘﻮازن اﻟﻤﺜﺒﺘﺔ إﻟﻰ ﻃﺎﺋﺮات اﻟﻬﻴﻠﻴﻜﻮﺑﺘﺮ ﻣﻦ اﻟﻔﻘﺮات اﻟﺘﻲ ﻟﻢ ﺗﺴﺒﻖ ﻣﺸﺎﻫﺪﺗﻬﺎ، ﺑﻤﺎ ﻟﻔﺮﻳﻖ ﺗﺼﻮﻳﺮ ﻣﺴﻠﺴﻼت اﻟﺤﻴﺎة اﻟﺒﺮﻳﺔ، ﻓﻴﻬﺎ ﻣﺸﺎﻫﺪ ﻟﻠﺪﻻﻓﻴﻦ ﻗﺎرورﻳﺔ اﻷﻧﻮف اﻟﺘﻲ اﺳﺘﺨﺪام ﺗﻠﻚ اﻟﻜﺎﻣﻴﺮات ﻋﻠﻰ ﻣﺘﻦ ﺳﻴﺎرات ﺗﻌﻠﻤﺖ أﺳﻠﻮﺑﺎً ﻓﺮﻳﺪاً ﻟﻠﺼﻴﺪ ﻳﻘﻮم ﻋﻠﻰ ﺗﺸﻜﻴﻞ ﻣﺘﺤﺮﻛﺔ وﺗﺼﻮﻳﺮ ﻗﻄﻌﺎن اﻟﺤﻴﻮاﻧﺎت اﻟﺒﺮﻳﺔ ﺣﻠﻘﺔ ﻣﻦ اﻟﻄﻴﻦ ﺣﻮﻟﻬﺎ ﺧﻼل ﺻﻴﺪﻫﺎ ﻓﻲ اﻟﻤﺘﺤﺮﻛﺔ ﻟﻠﻤﺮة اﻷوﻟﻰ ﻣﻦ ﻧﻮﻋﻬﺎ. اﻟﻤﻴﺎه اﻟﻤﻮﺣﻠﺔ ﻟﺨﻠﻴﺞ ﻓﻠﻮرﻳﺪا. © Martha Holmes / naturepl.com © Martha Holmes / naturepl.com

worldí s 5- star airline life in pictures 58 © Doug Allan from his book Freeze Frame

Frozen Planet 2011

ﻳﺮﻛﺰ ﻫﺬا اﻟﺠﺰء ﻣﻦ اﻟﻤﺴﻠﺴﻞ ﺳﺒﺎﻋﻲ اﻷﺟﺰاء ﻋﻠﻰ ﺗﺼﻮﻳﺮ The seven-part series focuses on life and the ﻣﺸﺎﻫﺪ اﻟﺤﻴﺎة واﻟﺒﻴﺌﺔ ﻓﻲ اﻟﻘﻄﺒﻴﻦ اﻟﺸﻤﺎﻟﻲ واﻟﺠﻨﻮﺑﻲ. .environment in both the Arctic and Antarctic

واﺷﺘﻤﻠﺖ اﻟﻤﺸﺎﻫﺪ اﻟﻔﺮﻳﺪة ﻟﺬﻟﻚ اﻟﺠﺰء ﻋﻠﻰ ﻗﻴﺎم اﻟﻤﺼﻮر Groundbreaking material included Doug Allan’s «دوج أﻟﻼن» ﺑﺘﺼﻮﻳﺮ ﻣﺤﺎوﻟﺔ ﻗﻄﻴﻊ ﻣﻦ اﻟﺤﻴﺘﺎن اﻟﻘﺎﺗﻠﺔ إﻧﺰال footage of ‘wave-washing’ – where pods of killer ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻔﻘﻤﺎت ﻣﻦ ﻓﻮق ﻗﻄﻊ ﺟﻠﻴﺪﻳﺔ ﻋﺎﺋﻤﺔ. .whales try to displace seals from icebergs

وﻗﺎل دوج: «ﻳﻌﺘﺒﺮ اﻟﺤﺼﻮل ﻋﻠﻰ ﻟﻘﻄﺎت ﻓﺮﻳﺪة ﺗﺸﻜﻞ ًدﻟﻴﻼ Obtaining definitive proof of a unique, almost“ ﺣﺎﺳﻤﺎً ﻋﻠﻰ ﺳﻠﻮك ﺷﺒﻪ أﺳﻄﻮري ﻟﻠﻤﺮة اﻷوﻟﻰ، ﻓﺮﺻﺔ ﻗﺪ ﻻ mythical behaviour for the first time is the sort of ﺗﺘﻜﺮر ﻷﻛﺜﺮ ﻣﻦ ﻣ ﺮة ﻓﻲ ﺣﻴﺎة اﻹﻧﺴﺎن.» thing that comes along perhaps only once in a lifetime,” said Doug.

Capturing animal behaviour in extreme and hostile places takes a very special kind of cameraman, and they don’t come more special than Doug Allan. Sir David Attenborough

Images on this page are taken from Doug Allan’s book Freeze Frame

oryxin ightmagazine.com life in pictures 59 © Colossus Productions Colossus ©

Galapagos 3D / Galapagos: Nature’s Wonderland 2014

By using cutting-edge 4K 3D stereoscopic cameras and“ ﻳﻘﻮل أﻧﻄﻮﻧﻲ ﺟﻴﻔﻴﻦ، ﻣﻨﺘﺞ ﻣﺴﻠﺴﻞ ﺟﺎﻻﺑﺎﺟﻮس ﺛﺮي دي: «أردﻧﺎ pushing the limits of existing technologies, we wanted ﻣﻦ ﺧﻼل اﺳﺘﺨﺪام ﻛﺎﻣﻴﺮات ﻓﺎﺋﻘﺔ اﻟﺘﻄﻮر ﻟﻠﺘﺼﻮﻳﺮ ﺛﻼﺛﻲ اﻷﺑﻌﺎد moviegoers to discover the wonders of the archipelago ﻣﻊ ﺗﻜﺒﻴﺮ اﻟﺼﻮر أرﺑﻊ ﻣﺮات واﺳﺘﻐﻼل اﻟﺘﻘﻨﻴﺎت اﻟﻤﺘﺎﺣﺔ إﻟﻰ أﻗﺼﻰ as never before,” explains Anthony Geffen, Galapagos 3D اﻟﺤﺪود، إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ أﻣﺎم ﻋﺸﺎق اﻷﻓﻼم ﻻﻛﺘﺸﺎف ﻋﺠﺎﺋﺐ أرﺧﺒﻴﻞ .producer ﺟﺰر ﺟﺎﻻﺑﺎﺟﻮس ﺑﺸﻜﻞ ﻟﻢ ﻳﺴﺒﻖ ﻟﻪ ﻣﺜﻴﻞ.»

”?So what does 3D bring to the wildlife documentary“ وﻗﺎل أﺗﻨﺒﺮه ًﻣﺘﺴﺎﺋﻼ: «ﻣﺎ اﻟﺬي ﻳﻀﻴﻔﻪ اﻟﺘﺼﻮﻳﺮ ﺛﻼﺛﻲ اﻷﺑﻌﺎد إذن poses Attenborough. “The added reality, the added إﻟﻰ اﻷﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ؟ إﻧﻪ ﻳﻀﻴﻒ إﻟﻴﻬﺎ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻮاﻗﻌﻴﺔ واﻟﺘﺄﺛﻴﺮ impact, the added vision. If you’ve seen something in واﻟﻮﺿﻮح. ﻓﺈذا ﺳﺒﻖ ﻟﻜﻢ أن ﺷﺎﻫﺪﺗﻢ ًأﺷﻴﺎء ﻓﻲ اﻷﻓﻼم اﻟﻤﺼﻮرة black-and-white you see more when it’s in colour, so in ﺑﺎﻷﺑﻴﺾ واﻷﺳﻮد، ﻓﻤﻤﺎ ﻻﺷﻚ ﻓﻴﻪ أﻧﻜﻢ ﺳﺘﺸﺎﻫﺪون اﻟﻤﺰﻳﺪ ﻣﻨﻬﺎ ﻓﻲ the same way 3D is a far greater perception of the reality اﻷﻓﻼم ﱠاﻟﻤﻠﻮﻧَﺔ. وﻣﻦ ﻫﻨﺎ ﻧﻔﻬﻢ أن اﻷﻓﻼم ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد ﺗﻮﻓﺮ رؤﻳﺔ ”.than colour alone أﻓﻀﻞ ﺑﻜﺜﻴﺮ ﻟﻠﻮاﻗﻊ ﻣﻦ اﻷﻓﻼم ﱠاﻟﻤﻠﻮﻧﺔ ﻓﻘﻂ.»

worldí s 5- star airline