The Greatest War Photographer You’ve Never Heard Of
Very few women went to Vietnam as journalists, and even fewer as dedicated war photojournalists. In fact, for most of the 1960s, there were only two: Dickie Chapelle, who was killed by a grenade in 1965, and Catherine Leroy.
当年，去越南的女记者非常少，执着的战地女摄影记者更少。实际上，60年代大部分时候只有两位：在1965年被一枚手榴弹炸死的迪基·夏佩尔(Dickie Chapelle)和凯瑟琳·勒罗伊(Catherine Leroy)。
Leroy was widely considered the most daring photographer in Vietnam. She almost certainly spent the most time in combat — in part because she had no money, having traveled from her native France to Vietnam as a freelancer in 1966 with no contracts and a short list of published work. Living with soldiers meant that she could eat rations and sleep in the countryside.
Leroy faced no shortage of sexism. After she parachuted into combat during Operation Junction City, in early 1967, rumors circulated that she had slept with a colonel in exchange for permission. In fact, she had earned her parachutist license as a teenager, and had already jumped 84 times. Still, she developed a reputation as a photographer quickly, selling photos to The Associated Press and U.P.I.
勒罗伊面临了不少的性别歧视。在她1967年年初通过跳伞加入章克申城行动(Operation Junction City)的战斗后，有传闻称她是以和一个上校发生关系作为交换，才获得许可的。但实际上，她在十几岁时就获得了跳伞许可证，在那次行动之前已经跳过84次伞了。不过她还是迅速建立起了作为一名摄影师的声誉，开始把照片卖给美联社(The Associated Press)和合众国际社(UPI)。
At one point during the Tet offensive, in early 1968, she was captured by the North Vietnamese Army while with the French journalist Francois Mazure. There was a young lieutenant that they could converse with in French. They explained that they were journalists and would do no harm, so the soldiers decided to let them go. But first she persuaded them to let her take photos, saying that it was important because only one side of the story was being seen. The photos ran as a cover story in Life magazine, which she wrote herself.
在1968年年初的春节攻势(Tet offensive)期间，勒罗伊曾和法国记者弗朗索瓦·梅热(Francois Mazure)一起被北越军队俘获。被俘期间，他们用法语和那里的一个年轻陆军中尉交谈，解释说自己是记者，不会造成任何危害。于是那些士兵决定放他们走。但首先，她说服他们让她拍照，称这么做很重要，因为外界只看到了事情的一面。那些照片连同她自己写的文章，登上了《生活》杂志(Life)的封面。
Leroy never promoted herself or her work, which is one reason she remains largely unknown among the war photographers of the day (though not forgotten: In 2015 the writer and filmmaker Jacques Menasche completed a documentary about her career, “Cathy at War”). But she was one of the Vietnam War’s most lauded photojournalists, winning Picture of the Year from the George Polk Awards and, for her later work in Lebanon, the Robert Capa Gold Medal.
勒罗伊从来不宣传自己或自己的作品。这也是她在当代战地摄影师中基本上不为人知的原因之一（但并没有被遗忘：2015年，作家兼电影人雅克·梅纳希[Jacques Menasche]完成了一部有关她职业生涯的纪录片《战争时期的凯茜》[Cathy at War]）。但她是越战最受褒扬的摄影记者之一，获得过乔治·波卡奖(George Polk Award)的年度最佳图片。她后来在黎巴嫩的作品还赢得了罗伯特·卡帕金奖(Robert Capa Gold Medal)。
Later in life, Leroy ran a vintage clothing website. She died in Santa Monica, Calif., in 2006.
Leroy’s photo series of Vernon Wike became some of her most famous pictures, and in 2004 Paris Match magazine commissioned her to visit him at his home in Prescott, Ariz. Mr. Wike, 58, stood in his living room, his arms heavy with tattoos, including the names of fellow soldiers killed in Vietnam.
弗农·维克(Vernon Wike)系列是勒罗伊最著名的作品之一。2004年，《巴黎竞赛》(Paris Match)杂志委托勒罗伊去维克位于亚利桑那州普雷斯科特的家中看望他。58岁的维克站在起居室里，胳膊上布满了文身，包括牺牲在越南的战友的名字。