这篇文章发表在1961年2月的Popular Photography，收入四十年的精品收藏，上次我翻译了一段，现在觉得没有必要，就把原文搬上来了。周末给想看的朋友消遣，看看那时彩色照片方兴未艾时对摄影风格的经典演绎。谢谢大家的时间。
祝大家超级杯周日快乐！Go Seahawks! 讨厌作弊的Patriots。
译文／原文：摄影的风格／Photographic Style （1）
原文：Photographic Style－3 by Charles Reynolds （完）
Ingredients of Style
What are the components of a photographer's personal style? There are three dicisions a photographer makes whichi determine this:
First, the photographer decides what to photograph. He takes pictures of what is important to him and his decision is necessarily a reflection of his personality and unique outlook on life. Different photographers walking down the same city street would train their cameras on very different things. One might see a particular person who interested him and ask the person to pose for a picture, another might concentrate on the abstract patterns formed by the building with their windows and fire escapes, still another might try to catch fleeting moments which emphasize the human relationships between people on the street. In terms of this approach to subject matter we can break down photographers into three general types: the director, the discoverer, and the capturer. While in many good photographers these distinctions overlap, a consideration of them helps to clarify the way in which most photographers work.
The director directs what is in front of his camera. He makes the picture and then he captures it on film. Irving Penn, Bert Stern, and Richard Avedon might be roughly categorized as this type of photographer.
The discoverer finds things with his camera and preserves these images which he considers to be significant. Edward Western, a great photographer who clearly fits into this category, once said: " I get a greater joy from finding things in nature, already composed, than I do from my finest personal arrangements......" Other photographers who would fit into this general category are Ansel Adams, Paul Strand, and such discoverers of abstractions in nature as Walter Chappell, Aaron Siskind, and Nathan Lyons.
The capturer uses his camera to catch moments of his life on the wing. Perhaps the most famous photographer to fit in this category is Henri Cartier-Bresson with his concept of "the decisive moment." Bresson personally define his approach to photography in his much-quoted statement that "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which would give that event its proper expression. " An important factor in the capturer's approach (as well as the discoverer) is that he does not arrange what is in front of the camera to suit the picture he wishes to take. Dorothea Lange, one of the greatest photographers of this genre, has a quote from Francis Bacon pinned to her darkroom door. It says: " The comtemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than the whole harvest of invention. " This attitude is a key to the syle. Almost all of the photojournalists fit into this category of the photographer as capturer.
On a more obvious commercial level, many photographers are identified with the type of subject matter which they handle best. Thus we have sports photographers, fashion photographers, portrait photographers and so on.
Second, the photographer must decide how to shoot his subject. Different photographers shooting the same subject would shoot it in many different ways, each attempting to use the resources of the camera to express his particular point of view. His decision on the camera to use, the focal length of the lens, the type of film, the lighting, the angle of view and all the other aspects of shooting a picture contribute to the syle of that particular photograph. After a photographer has become proficient in his work ,he makes these myriad decisions on the basis of what he wants.
As photographers develop a style they often become identified with the equipment which is best suited to their particular approach and point of view. For example, Cartier-Bresson is commonly identified with the Leica. This 35-mm camera with its speed of operation, unobtrusiveness, and flexibility is consistent with his approach of capturing the "decisive moment" in a particular situation. Weston, on the other hand, is identified with the 8X10 view camera, perfectly suited for photographing the extreme detail and super tonal ranges for which his pictures are famous. Other photographers, such like Bill Brandt or Fritz Henley, are particularly identified with the Rolleiflex. The many photographers who shoot with several different kinds of cameras usually have a style which resides in other aspects of the photographic process, such as their sense of composition or use of light.
Because the photographer is inextricably wedded to the machine which produces his picture, the technological changes in that machine and in the film that goes through it will always be reflected in the changes in photographic style. For example, the recent rise in popularity of the single-lens reflex camera (usually used with long focal -length lenses)has produced a style of photographic virtually unknown a few years ago. The stylistic influences of technological advances such as color printing are also just beginning to be seen.
The third component of persona style is how a photographer makes his prints. Different photographers shooting the same subject in the same way would probably come up with very different final prints. A W. Eugene Smith print is very different from a William Klein print and each printing style is an integral part of the vision of the photographer who employs it. Most fine photographers recognize this relationship between the quality of the final print and what they are attempting to express, Richard Avedon has said, "To get a satisfactory print, one that contains all that you intended is often more difficult and dangerous than the sitting itself. When I am photographing, I immediately know when I've git the image I really want. But to get the image out of the camera and into the open is another matter. I make as many as 60 prints of a picture, would make 100 if it would make a fraction's improvement, help show the invisible visible, the inside outside." In his concern and respect for this final stip of the photographic process, Mr. Avedon is not along. Most good photographers share his opinion.
下一贴：Culture Influences Style 和Photography and Painting
祝大家超级杯周日快乐！Go Seahawks! 讨厌作弊的Patriots。
译文／原文：摄影的风格／Photographic Style （1）
原文：Photographic Style－3 by Charles Reynolds （完）
Ingredients of Style
What are the components of a photographer's personal style? There are three dicisions a photographer makes whichi determine this:
First, the photographer decides what to photograph. He takes pictures of what is important to him and his decision is necessarily a reflection of his personality and unique outlook on life. Different photographers walking down the same city street would train their cameras on very different things. One might see a particular person who interested him and ask the person to pose for a picture, another might concentrate on the abstract patterns formed by the building with their windows and fire escapes, still another might try to catch fleeting moments which emphasize the human relationships between people on the street. In terms of this approach to subject matter we can break down photographers into three general types: the director, the discoverer, and the capturer. While in many good photographers these distinctions overlap, a consideration of them helps to clarify the way in which most photographers work.
The director directs what is in front of his camera. He makes the picture and then he captures it on film. Irving Penn, Bert Stern, and Richard Avedon might be roughly categorized as this type of photographer.
The discoverer finds things with his camera and preserves these images which he considers to be significant. Edward Western, a great photographer who clearly fits into this category, once said: " I get a greater joy from finding things in nature, already composed, than I do from my finest personal arrangements......" Other photographers who would fit into this general category are Ansel Adams, Paul Strand, and such discoverers of abstractions in nature as Walter Chappell, Aaron Siskind, and Nathan Lyons.
The capturer uses his camera to catch moments of his life on the wing. Perhaps the most famous photographer to fit in this category is Henri Cartier-Bresson with his concept of "the decisive moment." Bresson personally define his approach to photography in his much-quoted statement that "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which would give that event its proper expression. " An important factor in the capturer's approach (as well as the discoverer) is that he does not arrange what is in front of the camera to suit the picture he wishes to take. Dorothea Lange, one of the greatest photographers of this genre, has a quote from Francis Bacon pinned to her darkroom door. It says: " The comtemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than the whole harvest of invention. " This attitude is a key to the syle. Almost all of the photojournalists fit into this category of the photographer as capturer.
On a more obvious commercial level, many photographers are identified with the type of subject matter which they handle best. Thus we have sports photographers, fashion photographers, portrait photographers and so on.
Second, the photographer must decide how to shoot his subject. Different photographers shooting the same subject would shoot it in many different ways, each attempting to use the resources of the camera to express his particular point of view. His decision on the camera to use, the focal length of the lens, the type of film, the lighting, the angle of view and all the other aspects of shooting a picture contribute to the syle of that particular photograph. After a photographer has become proficient in his work ,he makes these myriad decisions on the basis of what he wants.
As photographers develop a style they often become identified with the equipment which is best suited to their particular approach and point of view. For example, Cartier-Bresson is commonly identified with the Leica. This 35-mm camera with its speed of operation, unobtrusiveness, and flexibility is consistent with his approach of capturing the "decisive moment" in a particular situation. Weston, on the other hand, is identified with the 8X10 view camera, perfectly suited for photographing the extreme detail and super tonal ranges for which his pictures are famous. Other photographers, such like Bill Brandt or Fritz Henley, are particularly identified with the Rolleiflex. The many photographers who shoot with several different kinds of cameras usually have a style which resides in other aspects of the photographic process, such as their sense of composition or use of light.
Because the photographer is inextricably wedded to the machine which produces his picture, the technological changes in that machine and in the film that goes through it will always be reflected in the changes in photographic style. For example, the recent rise in popularity of the single-lens reflex camera (usually used with long focal -length lenses)has produced a style of photographic virtually unknown a few years ago. The stylistic influences of technological advances such as color printing are also just beginning to be seen.
The third component of persona style is how a photographer makes his prints. Different photographers shooting the same subject in the same way would probably come up with very different final prints. A W. Eugene Smith print is very different from a William Klein print and each printing style is an integral part of the vision of the photographer who employs it. Most fine photographers recognize this relationship between the quality of the final print and what they are attempting to express, Richard Avedon has said, "To get a satisfactory print, one that contains all that you intended is often more difficult and dangerous than the sitting itself. When I am photographing, I immediately know when I've git the image I really want. But to get the image out of the camera and into the open is another matter. I make as many as 60 prints of a picture, would make 100 if it would make a fraction's improvement, help show the invisible visible, the inside outside." In his concern and respect for this final stip of the photographic process, Mr. Avedon is not along. Most good photographers share his opinion.
下一贴：Culture Influences Style 和Photography and Painting
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