核心词汇 (Target Vocabulary)

学习 1B 纪实摄影与人文故事核心生词，点击语音按钮可听纯正美音发音，掌握核心释义与真题例句。

enrich [ɪnˈrɪtʃ] v.
To improve the quality, value, or richness of something.
丰富；充实
"Traveling to over one hundred countries has enriched Annie Griffiths' worldview tremendously."
expectation [ˌekspekˈteɪʃn] n.
A strong belief that something will happen or be the case in the future.
期望；期待
"Her parents had the expectation that she would pursue a conventional career."
overcome [ˌəʊvəˈkʌm] v.
To defeat or succeed in controlling or dealing with a problem.
克服；战胜
"Female photojournalists often have to overcome significant professional and cultural hurdles."
portrait [ˈpɔːtrət] n.
A painting, photograph, or drawing of a person, especially the face.
肖像；人像摄影
"Annie's striking portrait of a bedouin woman captures deep dignity and grace."
praise [preɪz] v./n.
To express strong admiration or approval of someone or something.
赞扬；表彰
"Her humanitarian photography collective Ripple Effect has received widespread international praise."
project [ˈprɒdʒekt] n.
A planned piece of work that is designed to find information or produce something.
项目；专题计划
"Her latest photographic project documents renewable energy solutions led by women."
sincere [sɪnˈsɪə] adj.
Honest, genuine, and not pretending or lying.
真诚的；诚挚的
"Subjects open up to photographers who demonstrate sincere curiosity and respect."
teamwork [ˈtiːmwɜːk] n.
The combined action of a group, especially when effective and efficient.
团队协作；合作
"Producing high-impact National Geographic field stories demands flawless teamwork."
thus [ðʌs] adv.
In this way; with this result; therefore.
因此；从而
"She spent months embedded with local families, thus earning their lasting friendship."
tuition [tjuˈɪʃn] n.
The money paid for instruction, especially at a college or university.
学费
"To pay her college tuition, she worked as a waitress and campus photographer."
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My Journey in Photographs

我的摄影之旅：国家地理女摄影师 Annie Griffiths 的人道主义镜头与全球女性赋能

Paragraph A
I'm convinced that I learned more as a waitress than I ever did in a classroom. When I went on to college, it also paid for tuition and housing and eventually, a camera. But best of all, being a waitress taught me to quickly assess and understand all kinds of people. I learned how to make small talk and how to quickly put people at ease, great training for a journalist. Waiting tables also taught me teamwork and service and humor. From the moment I picked up a camera, I was hooked. I lost interest in other studies, and all I wanted to do was take pictures for the University newspaper, the Minnesota Daily.
Paragraph B
In six months, I was able to get a lot of great experience. The week I finished college, I was contacted by the Worthington Daily Globe, a regional daily newspaper in southern Minnesota with a history of excellence in photography. By some miracle I was hired, and the two-year experience that followed was like a masterclass in photojournalism. Jim Vance was the top-notch publisher of the Globe. He had very high expectations of all the staff. With little or no instruction from him, writers and photographers were expected to fill the paper with stories that were important to our readers. I didn't know it at the time, but this independent reporting was perfect training for my future career.
Paragraph C
Among the most important things I learned at the Globe was that if you can make friends with a shy Norwegian farmer and be invited to his kitchen table, you can probably do well in any culture on earth. I worked with a wonderful writer named Paul Gruko. Together, we would search the farming communities for stories. Paul had grown up on a farm himself and lived through personal tragedy, so he was able to project warmth and understanding to anyone he met. Farmers would invite us into their homes and willingly share their personal thoughts with us. From Paul, I learned how to be a patient listener, as well as the importance of giving each subject time and sincere attention. It was while I was working at the Globe that I happened to answer the phone one morning.
Paragraph D
A man's voice asked, you a photographer? When I replied that indeed I was, the voice responded, This is Bob Gilka, National Geographic. I need a hailed damage picture. You guys get a big hailed storm last night? I overcame my nervousness and said, yes, sir. When he asked if I could take the picture for him, I again said, yes, sir. My little picture of hailed damage in southern Minnesota was well received, and a year later, I was working for Bob. National Geographics Legendary Director of Photography.
Paragraph E
Thus began one of the most important relationships of my life. Lessons on the road. I was the youngest photographer working for National Geographic when I arrived in 1978, and I spent at least a decade just trying not to make mistakes. With each new assignment came the fear that this was going to be the one where they figured out that I couldn't do the job. On many assignments, the most challenging part turned out to be the transportation. Over the years, I traveled by horse, car, train, truck, and all sorts of old vehicles. I traveled by mule in Mexico, by ship along the Indian Ocean, by fishing boat in the sea of Galilee, by moped in Burmuda, by sailboat in Sydney.
Paragraph F
I flew in helicopters chasing bears in the Arctic. Twice, while flying in light planes, pilots have had to make emergency landings far from any airport. But there were also wonderful experiences. In Africa, I traveled by balloon, ultralight aircraft, and elephant. In a rubber raft off the west coast of Mexico, I was suddenly lifted out of the water on the back of a friendly whale. Wherever I traveled in the world, taking beautiful pictures was always my goal. However, later in my career, I also wanted my pictures to make a real difference in people's lives. That is why each spring, I toured two or three developing countries, shooting portraits of people whose lives are better because of the dedicated workers who care about them.
Paragraph G
The photos are used in a variety of fundraising products. The other issue that stole my heart was the environment. With support from the National Geographic Expeditions Council, I have traveled all over the United States to photograph the last 1% of wilderness left here. I am deeply grateful for my life in photography, and the amazing lessons it has taught me. I have learned that women really do hold up half the sky. The language isn't always necessary, but touch usually is. That all people are not alike, but they do mostly have the same hopes and fears. That judging others does great harm, but listening to them enriches, and that it is impossible to hate a group of people once you get to know one of them as an individual.

课文配套练习 (Reading Exercises)

严格对应教材 Page 15–21 官方练习：Before You Read、Reading Comprehension 及 Scanning for Specifics 技能训练。

1.
Previewing (p.15) What does Annie Griffiths pack for an extended photo assignment?
2.
Previewing (p.15) Why do photojournalists travel to remote parts of the world?
3.
Main Idea (p.20) What is the main topic of Reading B?
4.
Detail (Para B, p.20) How did Annie Griffiths start her career in photography?
5.
Detail (Para C, p.20) What unique challenge did Annie face during her assignments?
6.
Purpose (Para H, p.20) What is the mission of Ripple Effect Images?
7.
Inference (Para J, p.20) According to Annie Griffiths, what is the greatest power of photography?
8.
Detail (p.20) Why did Annie choose to photograph women and children?
9.
Detail (p.20) How do local communities typically react to Annie Griffiths?
10.
Scanning (p.21) What was Annie's original career ambition before taking a photography class?
11.
Scanning (p.21) How many years did she work before joining National Geographic?
12.
Scanning (p.21) What title did she later hold at Ripple Effect Images?

Critical Thinking · Women as an Integral Part of Society
Annie Griffiths dedicated her career to showing that women are an integral part of society in developing nations.
How do women in grassroots communities drive social resilience and economic progress? Note your insights below.