The mountain is silent save for his thumping heart as he waits for the skier to drop into the frame.
除了等待滑雪者跳入镜框内的那颗怦怦直跳的心，整座山都是沉默的。

As an explosion of snow pierces the sparkling air, he fires the shutter, tracking the powdery backwash down the slope.
雪花四溅，刺进了闪耀着阳光的天空，他赶紧按下快门，拍下从斜坡上散落下来的雪花。

But photographer Oskar Enander won't see these stunning images in the same way as the rest of us -- he's color blind.
但摄影师奥斯卡•恩纳德（Oskar Enander）无法像我们一样看到这些令人惊叹的影像 – 因为他是色盲。

However, that hasn't stopped the Swede from becoming one of the most accomplished ski photographers in the world.
然而，这并没有阻止这位瑞典人成为世界上有成就的滑雪摄影师之一。

The only inconvenience, as far as he can tell, is not knowing what color clothes the athletes are wearing.
如他所说，色盲给他带来的不便是不知道运动员穿的是什么颜色的衣服。

"My mom noticed it when I was little kid, I didn't really know what the colors were -- green, brown, and I can't really tell what purple is," Enander tells CNN from his adopted home in the ski resort of Engelberg, Switzerland.
“我母亲在我小的时候就注意到我有色盲这个问题，我真的不知道颜色是什么 – 不知道绿色、棕色是什么，我也没法说出紫色是什么，”Enander在滑雪胜地的家中告诉CNN瑞士恩格尔贝格。

"I see colors, I just mix them up. To me it all looks blue.
“我能看到颜色，只不过是混合起来的颜色。对我来说，看起来都是蓝色的。”

"On the mountain it's kind of easy. I work a lot with the deep blue in shadows and the contrasts between dark and light. It doesn't really affect me there. Summer is a bit trickier."
“在雪山上色盲并不是什么问题。在阴影下我看到的是深蓝色，还有黑暗与光线的反差，并没有怎么影响到我。但是到了夏天就有点棘手。”

 Friend and fellow photographer Mattias Fredriksson is in awe of Enander's ability, given what some might see as a disability in such a visual medium.
摄影师Mattias Fredriksson，也是Enander的朋友，对他的能力感到敬畏，因为在这类视觉媒体中，有些人可能会认为色盲是一种残疾。

"It's just incredible he can create this amazing imagery while being color blind," the equally acclaimed Fredriksson tells CNN from his base in Squamish, British Columbia.
在不列颠哥伦比亚省斯阔米什（Squamish）的基地，同样受人喜爱的弗雷德里克森告诉美国有线电视新闻网（CNN）：“这真是令人难以置信，色盲居然可以制作出这么惊叹的图像。”

"I don't know how it works but it's pretty cool."
“我不知道过程是怎样的，但非常酷。”

Enander trod the path of many young skiers, dropping out of an engineering degree in Sweden to live the life of a ski bum in Chamonix, France in 1999-2000.
在1999年至2000年期间Enander放弃攻读瑞典的工程学位，迷上了滑雪，便到法国夏蒙尼（Chamonix）过着滑雪者的生活，踏上了许多年轻滑雪者的道路。

As a keen amateur photographer he often snapped his friends skiing. When he later moved to Engelberg he took it up more seriously.
作为一名业余摄影师，他满腔热血，经常给朋友拍摄滑雪的照片。后来他搬到英格堡后，对此更加认真了。

His first ever submission to the US ski magazine Powder earned him its Photo of the Year for 2003. He flew to Aspen for a glittering awards ceremony and his career took off.
他第一次向美国滑雪杂志Powder提交的作品就获得了2003年度佳照片。于是飞往阿斯彭参加了盛大的颁奖典礼，从此他的摄影职业生涯开始起飞。

"I was up there with all these rocks stars of the business getting their Skier of the Year or Movie of the Year award -- I was an unknown photographer and the skier was totally unknown but it didn't matter, the shot spoke for itself."
“我站在台上与所有这些影视界明星一起获得年度滑雪者或年度佳电影奖 – 只有我还是不为人知的摄影师、滑雪者，但这不要紧，这些照片将证明一切。”

Now his work takes him all around the world, from the Alps to Alaska, either on assignment for corporate clients, shooting for magazines or feeding his own Instagram page.
现在，他的作品将他带到世界各地，从阿尔卑斯山到阿拉斯加，无论是为企业客户工作、为杂志拍摄还是为了更新自己的Instagram。

"I love Alaska, just how the mountains look, how the snow sticks to very steep slopes and forms amazing spines," he says.
他说：“我喜欢阿拉斯加，就是喜欢山脉的样子，喜欢雪覆盖在陡坡上的样子，喜欢堆积成山脉的的壮观景象。”

"And I really like Japan, it just snows so much, even on a bad year which would be a great year anywhere else. It's so just so different to Europe. It's very modern and in many ways it's almost ancient."
“我真的很喜欢日本，那里几乎都是在下雪，即使是雪灾天气也比世界上任何一个地方要棒，跟欧洲完全不同。日本非常现代，同时在很多方面又保留着古老的东西。”

But he is happiest at home on the slopes of Titlis (3,239 meters) above Engelberg where he knows the best spots and works with a crew of experienced local skiers and snowboarders.
但他还是喜欢在英格尔山上方铁力士山坡（3,239米）的家中呆着，因为他知道好的拍摄景点在哪里，并与当地经验丰富的滑雪者和雪橇爱好者一起工作。

"I know how the light and snow conditions work on this mountain so I don't have to look around to find my spots," he says.
“我知道这座山上的光照和雪况如何，所以我不必四处寻找拍摄景点，”他说。

"I work with the sun and follow it around the mountain. Sometimes we'll ski down in the dark if we've been shooting the sunset."
“只要有太阳，我就拍，并在山上寻着它的位置去拍摄。如果我们要拍摄日落场景，有时会在黑暗中滑雪。”


  Like all good photographers, Enander's best work comes from a combination of a natural eye for an arresting image and hard work in setting up the shot.
像所有的摄影师一样，Enander的佳作品，需要一双能捕捉精彩镜头的眼睛和镜头设计镜头感的技术。

If a skier is poised above a big, committing face in Alaska, Enander will be guided by the line they choose to take on, but elsewhere it's vital the athlete knows what he wants from a picture -- with everyone's safety always paramount in his mind.
在阿拉斯加如果滑雪者要摆拍一张自信的大脸照，那么滑雪者会设计好路线让Enander去拍，但如果是在别的地方，运动员知道自己想要怎样的拍摄效果是至关重要的 – 当然也要保证每个人的安全。

Having skied into position, Enander will radio the skier waiting above to discuss the shot, using terrain features or changes in snow texture to explain where to aim for in terms of composition and focusing.
待滑到既定位置后，Enander通过无线与山上的滑雪者讨论拍摄问题，依据地形特征或雪地纹理的变化，从构图和聚焦方面去确定拍摄位置。

"With skiing you don't have a second chance," he says. "You can't have another track in the frame so you've got to nail it first time."
“滑雪拍摄，没有第二次机会，”他说。“你不可能在同一镜框再拍另一条滑雪轨道，所以必须一次就拍好。”


  One of Enander's most involved projects was shooting alongside a video company filming an advert for a new high-tech TV in the British Columbia backcountry near Golden.
Enander受关注的项目之一就是和一家视频公司一起拍摄，该公司在不列颠哥伦比亚省附近的Golden拍摄了一则新的高科技电视广告。

"They had a crazy idea to shoot skiing at night," he says.
“他们有一个疯狂的想法，晚上拍摄滑雪，”他说。

"It could be done very basic with head lamps but it wouldn't look as fun, so we had a big crew with Hollywood light technicians, generators and big, heavy Hollywood studio lights flown out by helicopter to this mountain hut.
“其实用基础的头灯去拍也是可以的，但看起来就不那么有趣了，所以我们用直升机载着又大又重的好莱坞工作室灯光设备，让好莱坞灯光发电技术人员从上而下照亮这座山间小屋。

"From there we took them by human power through deep snow onto a big ridge. It was a heavy workload."
“从那里开始，我们踏着厚厚积雪，一步一步走到大山脊上，全程人力拍摄，很辛苦。”

The skiers were dressed up in light suits with hundreds of different colored LED bulbs, which often broke, while the batteries burned holes in their pockets.
这些滑雪者穿着浅色运动装，上面有数百种不同颜色的LED灯泡，还经常坏掉，电池烧掉后直接在口袋里烧了个洞。

The crew worked through the night until sunrise, before retiring to the remote Sentry Lodge and sleeping until about 3 p.m. Then they'd have breakfast, prepare for that evening's work and start shooting from about 1 a.m. They followed that routine for 12 days until the film was in the can.
工作人员彻夜工作到天亮，才返回到遥远的Sentry Lodge休息，一直睡到下午3点左右。吃完他们的早餐后就开始准备当晚的工作，再从凌晨1点左右开始拍摄。12天里天天如此直到拍摄完成。

"It was totally crazy but it worked out," says Enander. "One of those images won another photo of the year in Powder. It was worth the workload."
“这简直就是疯了，但确实效果不凡，”Enander说。“其中一张照片赢得了雪花年度照片，这样的付出很值得。”