闲时虾读，因为自己摄影很杂，觉得没有风格，有些受益，拿来共享。谢谢大家的时间。
——————————————————————
译文：摄影的风格
by Charles Reynolds
发表在1961年2月的Popular Photography
什么是摄影风格？怎样才会有？谁有？值多少？
————————————————————
风格是一种品质，使一个摄影师的作品区别于类似范围内的所有其它作品。它可以是一个艺术家不同于快照者的个性烙印；在商业摄影世界属于成功的专业摄影师，而不是相片制造工厂的运行者。如果你已经有了一种风格，那就是一种专异或有特点的视觉品质，在你拍的所有片子都能鉴别到，你会有不仅仅在摄影艺术而且在商业上成功的重要因素。
看图片，仅仅看是不够的。你必须对在完成图片中所看到的有所反映。任何好摄影师都应将独特的个人因素介入他的图片，在一定程度上表现其风格。
风格对摄影特别是个问题，相对任何其他表达形式来说。绘画，雕塑，以及写作的菜鸟，除非他从开始有意去拷贝，总是会在一定程度上创作出他自己的作品。这个作品或许质量不高，但至少这个艺术家不得不将自己的个性强加于所使用原始资料中。他根据自己心里的想法创造了图像，它自然而然的是主观的。而事实上一张照片是客观的，是机器制造的相机镜头前的图像，很容易得到（比绘画和雕塑要容易的多），同时非常难以把图像创作者的个性融入到其中。这个问题，用做自己的图，来显示自己个性中的视觉证据，已经成为每个创意摄影者所考虑的中心。
尽管这媒介所固有的客观性， 仍然有许多摄影者形成了自己的摄影风格。Weston, Smith, Karsh, Avedon 和其他几十位的照片是能够让熟悉他们作品的人鉴别出来的。他们的风格独特而有生机。他们从要拍什么的初衷，一直遵循在整个摄影过程，直到产生最终的印像。如此个人的风格不能成功的模仿，因为它只与那个起源了它的人相配。
下期：风格的成分
Photographic Style
by by Charles Reynolds
Published in February, 1961，Popular Photography
What is it? How can it be developed? Who has it? How much it worth?
————————————————
Syle is that quality which sets apart the work of one photographer from all others in the field. It is the stamp of personality which distinguishes the artist from the snapshooter and , in the commercial world, the successful pro from the run of the mill picture-maker. If you have developed a style, a distinctive or characteristic visual quality that is recognizable in all the pictures you make, you will possess an important key to both artistic and commercial success in photography.
To see a picture is not enough Your reaction to what you see must also appear in the final photography. The style of any good photographer is produced by the degree to which he can introduce this unique personal element into his picture.
Style is more of a problem in photography than in almost any other form of expression. The beginning painter, sculptor, or writer, unless the starts out deliberately to copy, is certain to create a work which is, to some degree, his own. This work may not be of high quality but at least the artist has automatically imposed his personality on the raw material he is using. He has created an image out of the resources of his mind and this image is, by its very nature, subjective. The fact that a photography is an objective machine-made image of what is in front of the lens of the camera makes it easy to produce (far easier than any panting or sculpture) but at the same time it becomes very difficult to infuse this image with the personality of its maker. This problem of making his pictures show visual evidence of his own personality becomes a central consideration for every creative photographer.
In spite of the inherent objectivity of the medium there have been many photographers who have developed personal photographic style. Pictures by Weston, Smith, Karsh, Avedon and dozens of others are indentifiable to people familiar with their work. Their styles are unique and organic. They start with the original decision of what to shoot and follow through the complete pjotographic process to the making of the final print. Such a persona syle cannot be successfully imitated because it fits only the person who originated it.
Next: Ingredients of Style
原文：Photographic Style （2 ）by Charles Reynolds
原文：Photographic Style－3 by Charles Reynolds （完）
——————————————————————
译文：摄影的风格
by Charles Reynolds
发表在1961年2月的Popular Photography
什么是摄影风格？怎样才会有？谁有？值多少？
————————————————————
风格是一种品质，使一个摄影师的作品区别于类似范围内的所有其它作品。它可以是一个艺术家不同于快照者的个性烙印；在商业摄影世界属于成功的专业摄影师，而不是相片制造工厂的运行者。如果你已经有了一种风格，那就是一种专异或有特点的视觉品质，在你拍的所有片子都能鉴别到，你会有不仅仅在摄影艺术而且在商业上成功的重要因素。
看图片，仅仅看是不够的。你必须对在完成图片中所看到的有所反映。任何好摄影师都应将独特的个人因素介入他的图片，在一定程度上表现其风格。
风格对摄影特别是个问题，相对任何其他表达形式来说。绘画，雕塑，以及写作的菜鸟，除非他从开始有意去拷贝，总是会在一定程度上创作出他自己的作品。这个作品或许质量不高，但至少这个艺术家不得不将自己的个性强加于所使用原始资料中。他根据自己心里的想法创造了图像，它自然而然的是主观的。而事实上一张照片是客观的，是机器制造的相机镜头前的图像，很容易得到（比绘画和雕塑要容易的多），同时非常难以把图像创作者的个性融入到其中。这个问题，用做自己的图，来显示自己个性中的视觉证据，已经成为每个创意摄影者所考虑的中心。
尽管这媒介所固有的客观性， 仍然有许多摄影者形成了自己的摄影风格。Weston, Smith, Karsh, Avedon 和其他几十位的照片是能够让熟悉他们作品的人鉴别出来的。他们的风格独特而有生机。他们从要拍什么的初衷，一直遵循在整个摄影过程，直到产生最终的印像。如此个人的风格不能成功的模仿，因为它只与那个起源了它的人相配。
下期：风格的成分
Photographic Style
by by Charles Reynolds
Published in February, 1961，Popular Photography
What is it? How can it be developed? Who has it? How much it worth?
————————————————
Syle is that quality which sets apart the work of one photographer from all others in the field. It is the stamp of personality which distinguishes the artist from the snapshooter and , in the commercial world, the successful pro from the run of the mill picture-maker. If you have developed a style, a distinctive or characteristic visual quality that is recognizable in all the pictures you make, you will possess an important key to both artistic and commercial success in photography.
To see a picture is not enough Your reaction to what you see must also appear in the final photography. The style of any good photographer is produced by the degree to which he can introduce this unique personal element into his picture.
Style is more of a problem in photography than in almost any other form of expression. The beginning painter, sculptor, or writer, unless the starts out deliberately to copy, is certain to create a work which is, to some degree, his own. This work may not be of high quality but at least the artist has automatically imposed his personality on the raw material he is using. He has created an image out of the resources of his mind and this image is, by its very nature, subjective. The fact that a photography is an objective machine-made image of what is in front of the lens of the camera makes it easy to produce (far easier than any panting or sculpture) but at the same time it becomes very difficult to infuse this image with the personality of its maker. This problem of making his pictures show visual evidence of his own personality becomes a central consideration for every creative photographer.
In spite of the inherent objectivity of the medium there have been many photographers who have developed personal photographic style. Pictures by Weston, Smith, Karsh, Avedon and dozens of others are indentifiable to people familiar with their work. Their styles are unique and organic. They start with the original decision of what to shoot and follow through the complete pjotographic process to the making of the final print. Such a persona syle cannot be successfully imitated because it fits only the person who originated it.
Next: Ingredients of Style
原文：Photographic Style （2 ）by Charles Reynolds
原文：Photographic Style－3 by Charles Reynolds （完）
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