摘要
“听说你以前是上海的照相馆学徒?这台相机你拿着用,去杭嘉湖平原农村采访吧!”1950年9月,20岁的徐永辉第一次走进浙江日报社社长陈冰的办公室,没多久手上多了一台社长递来的德国蔡司牌老式折叠皮腔120相机。相机小巧精致,自身并不重,却让徐永辉觉得肩头一沉——“这是浙江日报社唯一一台照相机,是从日军手里缴获的战利品,由谭震林政委赠予我工作用的,你使用时千万要当心。从今天开始,你就担任助理摄影记者,希望你用它来为人民服务。”
Taking the time of photography as the warp and each family as the weft,Xu Yonghui's works revolve around the highlight moments of ordinary families,while also containing major turning points of the nation's history.Every frame serves as a vivid footnote to the country's progress,thus becoming the historical documents collected by the National Museum of China.
出处
《浙江画报》
2024年第6期54-59,共6页
Zhejiang Pictorial
