黑白復古的光影世界

Larry.M.Kushner

我與灰卡的自拍像這張自拍像拍攝于我的工作室內(nèi)，同時運用了窗戶光和布光?；铱ㄊ怯脕碜鰠⒄盏?，照片洗出來后，照片上的灰卡和現(xiàn)實中的灰卡對比有助于將照片洗印得更好。

收獲節(jié)的夫妻肖像 28×10英寸大畫幅相機拍攝。由于長曝可以看出有點虛。皮膚影調很漂亮，但必須指出由于使用色盲相紙，男子的藍眼睛看起來有點透明，金發(fā)變成了黑發(fā)。

After the Harvest Festival I went on to many other projects over the years. It was only recently my interest in Calotype photography was revived. With most of photography now being digital I thought it might serve some purpose to see if I could improve the quality of the Calotype image using modern photosensitive paper and computer technology， while keeping the inherent tonal qualities of the color blind image. Hence， I set out to develop Calotypes for the 21 Century.

收獲節(jié)之后的許多年里我做了很多其他項目，但我最近迷上了碘化銀相紙攝影術?，F(xiàn)在是數(shù)碼攝影當家的時代，可我想如果用當代感光材料和計算機技術來提升碘化銀攝影相片的質量的話，同時保留色盲片獨有的影調，或許會別有味道，所以我開始發(fā)展21世紀的碘化銀紙攝影法。

I am now using a photographic paper that is not totally color blind. It is a variable contrast photographic print paper and therefore has some sensitivity to other colors than blue. However， the blue light sensitivity is by far dominant. This paper is， also， far more sensitive than the paper I used in the old days， some 35 plus years ago. I estimate the ISO to be as high as "5" （under certain light conditions）. It must be remembered though， that the ISO may be greatly effected by the color of the light being used to make the photograph. The more the light tends to be blue， the higher the ISO. If the light is mostly green or yellow then the ISO will be very low， maybe 1 or 2. The paper has no sensitivity to pure red light. In my darkroom I can have a pure red light bright enough to read a newspaper and the light will not expose the photo-paper.

我現(xiàn)在用的相紙不完全是色盲紙，我用可變反差相紙，因此除了藍以外對其他的光也敏感。然而，主要還是感藍。只是，我現(xiàn)在用的相紙要比35年前用的相紙感光度高一些，我估計ISO感光度在特定光線條件下約有5左右。因此在制作照片時要切記色彩可能對ISO產(chǎn)生很大的影響，如果藍光多，ISO值就高，如果是綠色或黃色，ISO感光度將會非常低，可能數(shù)值只有1或2。相紙對純粹的紅光不感光。在暗室純粹的紅光足以讓我讀報紙，但不會使相紙曝光。

收獲節(jié)的夫妻肖像 18×10英寸大畫幅相機拍攝。因為色盲感光材料的使用，皮膚的色調變得深而豐富。仔細看幾乎可見相紙的纖維顆粒。

邁克爾·林德利的肖像這是布光棚拍的一張肖像，光圈F8，8秒曝光。我不知道邁克爾如何做到這么久時間如何一動不動。不管怎么樣結果讓人驚喜，肖像很銳，細看T恤上紋理都可以看到。

收獲節(jié)的集體合影拍集體照永遠是個挑戰(zhàn)。即使在最好的條件下，普通相機拍集體照讓大家表情一致都不容易，用相紙拍就更不容易了，因為曝光時間更長。

William Henry Fox Talbot in 1839 invented the first successful negative positive photographic process. Photosensitized paper was used in the camera to form a latent （invisible） image. Then the paper was developed to form a visible negative image. The developed negative was placed in contact with an unexposed photosensitized sheet of paper. Then light was passed through the developed negative on to the unexposed sheet of paper. This would form a latent positive image. After development the positive image could be seen. Talbot's system formed the basis of all modern film based photography.

1839年，威廉·亨利·?？怂埂に柌┨匕l(fā)明了世界上最早的“負—正”攝影術。（這種攝影法的負片是采用在一種優(yōu)質的書寫紙上涂碘化鉀和硝酸銀，制成一種半透明的紙質負片。）感光紙被放進照相機里形成一種潛在的（看不見的）成像，然后這張感光紙經(jīng)過沖洗，形成一個可見的負像。被沖洗出來的負片與未曝光的感光紙（氯化銀紙）緊貼在一起，光穿過負片到感光紙上，最終形成一個正像（既我們通常說的接觸印相）。定影之后可以看見正像。塔爾博特的這種攝影技術奠定了現(xiàn)代膠片攝影的基礎。

水晶盆地的森林消防員，加利福尼亞州水晶盆地國家森林公園的五個消防員站在他們的消防車前。這些勇敢的小伙子年復一年地在此保護著這里的人們和森林免受頻發(fā)的致命火災的傷害。這張照片是實驗綠色卡車在色盲相紙上的影調。我非常吃驚這個影調是很亮的，因為我以為它會很黑，顯然感光紙對綠光的敏感度比我想像得強。

佛寺和公寓樓 ，中國無錫很多次我發(fā)現(xiàn)在社會和自然中的平?；蛘卟黄匠５氖挛餃愒谝黄鹂偸悄軌蛐纬梢环N視覺的趣味。這張照片就是個例子。

行進的腿，上海，紅坊藝術區(qū)相紙攝影的特點之一是長曝。曝光可以從1/8秒到4分鐘不等。1/8秒的快門速度下人行走的話會模糊，1/4秒的話會非常模糊，1/2秒時幾乎看不到人，只看到落在地上的腳，1秒時人就消失了。這張照片的快門速度是1/2秒，我想讓行進的腿和背景中腿的雕塑形成虛實對比。

This adventure began during the 1970's. Two of my photography students began a conversation with me. They said there would be an old time Harvest Festival and we should participate at the festival by having an old time photography studio. People could have their portraits taken dressed in old time clothing. ?I thought that this would be good ， but I had a different version of the idea. I said to the students we should set up a photography studio as it might have been in the 1840's or 1850's using paper negatives. We would use a process similar to the one developed by the Englishman， William Henry Fox Talbot in 1839. The photographs taken by Talbot's method were called Calotypes.

20世紀70年代，我的這次嘗試開始于與我的兩個攝影學生的一次交談。他們說將會有一個復古的收獲節(jié)，我們可以擁有一個老式的攝影工作室，加入到這次狂歡活動中。人們可以穿著舊式服裝，到我們的工作室里拍攝自己的肖像照片。我覺得這一切將會很棒，但我有另外的想法。我對學生們說，我們應當建立一個像1840年或者1850年時候的攝影棚，使用負像底片來拍攝。我們的使用過程類似于1839年英國人威廉·亨利·?？怂埂に柌┨啬菢?，先拍出負像底片，再沖洗為正像照片。塔爾博特的這種攝影方法被稱為碘化銀紙照相法。

I explained to the students that photographs from the 1800's looked old not because of the clothing people wore or that the people may have had a hard life. The people looked old because of the photographic materials used at the time. These photographic materials are "color blind". Light sensitivity of color blind materials is only to blue and ultra violet light. They are not sensitive to Green， Yellow， or Red light. Color blind photographic materials see the world differently than human eyes. When color blind photographs are made the results may look quite strange due to the limited spectrum of light sensitivity. Blue eyes may look transparent， blue skies appear bright white. Freckles on skin may be greatly exaggerated. ?Blond hair and green trees may appear darker than expected. Basically， blue objects in the picture will be highly exposed and all other colored objects will have less to no exposure.

我向學生們解釋采用這種來自于19世紀的攝影法拍出來的照片之所以看起來會有種老味道，并不是因為拍攝對象穿著舊式的衣服，或者經(jīng)歷了生活的磨礪，而是因為使用了當時的那種色盲攝影材料。這些色盲片只對藍光和紫外線敏感，而對于綠光、黃光、紅光并不敏感。 這些色盲相紙看世界與人眼看世界不太一樣。這些相片看起來會非常奇怪是由于感光度的有限光譜。（因此），在這些相紙上，藍眼睛看起來更透明，湛藍的天空更突顯亮白，雀斑在皮膚上看起來很顯著，金發(fā)和綠樹可能比預期顯現(xiàn)得更暗。基本來說，藍色的物體呈現(xiàn)在相片上會高度曝光，而其他顏色的物體則曝光較少。

Obviously old photographs may look old because they suffer from the effects of handling and the rigors of time. However， the use of color blind photosensitive materials is the reason old photographs have the distinctive appearance of the subjects looking old time.

老照片看起來懷舊也由于它們曾經(jīng)歷歲月的洗禮。然而，那些色盲感光材料的使用也使得老照片里的主體的外貌看起來像是充滿別樣的懷舊的味道。

Amargosa 歌劇院，死亡谷，加利福尼亞州Amargosa歌劇院坐落于加利福尼亞州死亡谷的小鎮(zhèn)。這里夏天炎熱至極，但是冬天卻很舒服。多年前紐約市的一個藝人退休之后開設了這家歌劇院?，F(xiàn)在，歌劇院不再對外演出，但對游客開放。我拍了這張照片試驗高調曝光。我想知道碘化銀相紙如何表現(xiàn)高調影像。

We built a photographic studio at the Harvest Festival. We used an 8" ?× 10" ?Ansco/Agfa view camera with a 300mm Turner Reich lens to take the portraits. The studio had a darkroom for developing the negatives and the prints. In Talbot's time he needed to make all his materials. He needed to mix all his own chemicals to make the solution for photosensitizing writing paper. We decided for the Harvest Festival to use available color blind photographic print paper to make the portraits. These materials were easy to purchase and could render a much better image than Talbot's self made materials. However， the photo paper we used shared a trait with Talbot's photo paper in that both had a very low light sensitivity. The exposure time we had to use was quite long. Modernly， the standard measure of light sensitivity is known as "ISO" （International Standards Organization）. The standard ISO for modern digital cameras is "100". We found the sensitivity of our photosensitive paper to be about "1". Due to long exposure times we found that many of the portraits would show movement， therefore， were not sharp. This was definitely a difficult technical problem to deal with. During the time of the Harvest Festival we made about 300 portraits （see examples of Harvest Festival portraits）. The tonality of many of the portraits was wonderful. I thought the unusual representation of skin tones of the subjects was very rich making for beautiful portraits.

在這次收獲節(jié)上，我們搭建了一個攝影棚，用一個300 mm 的Turner Reich鏡頭以及8" × 10"大畫幅的Ansco 相機/Agfa膠卷來拍攝人物肖像。攝影棚里有個暗房是專門沖洗負片和相片的。在塔爾博特的時代，他需要用化學藥品自制所有的感光材料。我們決定使用的色彩感光色相紙很容易買到，而比塔爾博特自己做的材料效果還要好。當然，我們使用的這種相紙，和塔爾博特自制的相紙有個共同點，就是感光度低。我們用很長的時間曝光。作為現(xiàn)代測量方法，感光度標準測量方法被稱為“ISO”（國際標準化感光度）。而ISO感光度在數(shù)碼相機里的標準數(shù)值為100，我們發(fā)現(xiàn)相紙的感光度接近“1”。 因此，由于長時間的曝光，我們發(fā)現(xiàn)許多肖像人物是在運動的，這絕對是一個難以處理的技術問題。在參加收獲節(jié)的同時，我們大約制作了大約300幅人物肖像， 許多不同膚色的人拍攝的相片影調非常完美。

加州沙丘爐管井的樹（Stove Pipe Wells Sand Dune）死亡谷有過最高溫的記錄，有些人喜歡夏天去這里體驗高溫，挑戰(zhàn)極限，而我喜歡在冬天溫度比較適宜的時候去。冬天這里也是旺季，是美國大陸上最大的國家公園，公園里有美國海拔最低的地方，被稱為“壞水”（Bad Water），從壞水穿過層巒疊嶂可以看到美國大陸的最高山惠特尼山。死亡谷從沙丘到峽谷，這里盡皆攝影的最佳處。

古怪的建筑，Placerville，加利福尼亞州這里有許多1800年代的建筑。照片中的這個建筑建于1911，距今100多年了，它有一間可以買到西裝的商店。

My kit for the field is a 4× 5 camera. I carry ?90mm， 135mm， 150mm， and 210mm lenses. I carry 4 to 8 film holders （with paper in the film holders of course）. This does not seem to be many shots in these times of digital photography. However， when using a view camera it is a thoughtful and time consuming procedure. Sometimes I need to just sit and look for a period of time. I try to keep in mind that making photographic images is really about looking at and seeing the environment around me. Then visually recording my enjoyment of the moment. I find a good day of photography may be 5 or 6 photographs. Many days I go out and make only 1 or 2. I always use a tripod. I will usually take 2 light meters （a combination incident/reflective meter and a spot meter） with extra batteries. Don't forget the dark cloth. All of this goes into my backpack. I have a small foldable dolly to which I attach the pack. Rolling is much better than carrying.

我使用的是4×5 的相機，攜帶的是90mm， 135mm， 150mm和 210mm的鏡頭，和4到8個的片夾（當然里面盛的是相紙）。不同與數(shù)碼攝影，用大畫幅相機拍攝照片時，這是一個需要深思熟慮的功夫活。有時候我需要坐等時機，觀察環(huán)境，取景構圖，然后記下讓我開心和感動的時刻。我發(fā)現(xiàn)一天最好拍五到六張照片，很多時候我出去一整天只拍一張。我須臾不離三角架。我通常帶著兩只測光表（測量入射光，反射光和現(xiàn)場光）以及測光表的備用電池。當然別忘了帶冠布。我會把這些東西都裝進背包。我有一個小的可折疊的輪子裝在我的背包上，推著比背著更方便。

吉他手，哥倫比亞，加利福尼亞州哥倫比亞是加州保護最好的淘金小鎮(zhèn)之一，這里有老式的建筑，小鎮(zhèn)主要是為游客服務的，如果去約塞米蒂，順便看看淘金小鎮(zhèn)，這里非常值得一游。

街站這張照片表明暗影下的細節(jié)也可以在相紙上被記錄得很豐富。

酒店的白墻，死亡谷，加利福尼亞州這張照片目的在于研究亮調下被拍體的紋理。我想弄清楚碘化銀相紙如何表現(xiàn)斑駁的油漆和窗戶框的破損的木頭的細節(jié)。

I take light readings and compare the meter reading with my own exposure estimate based on my knowledge and experience. These days I find F16 at 1/4 second to be a good base exposure in bright sunlight. This is why I tend to use ISO 4 for most of my outdoor work these days.

我根據(jù)測光表讀數(shù)，加上自己的經(jīng)驗判斷，來設定光圈值和快門速度。近來我發(fā)現(xiàn)在光線好的情況下，用F16的光圈和1/4秒的快門速度是個很好的曝光組合。這使得我喜歡用ISO4的相紙到戶外拍攝。

Whatever photographic experiment I may be working on I am still interested in the composition and subject matter of the photograph. I tend to be a documentary photographer looking to make photographs of social and historical significance. I do， however， like to photograph compositions with rich tonality.

無論做過怎樣的攝影實驗，我仍然對照片的構圖和主題感興趣。我努力成為一位紀實攝影師，拍攝出具有社會意義和歷史意義的照片。我太喜歡影調豐富的照片了。

中國無錫濕地，拱橋濕地靠近江南大學。我多次前往拍攝，這里是一處美麗的公園，有許多精致的人造景觀，許多人喜歡在這里游玩，或在橋上小坐。

約塞米蒂谷山谷風光，加州福利亞山谷風光是約塞米蒂最美麗的風光，卡爾頓·沃特金斯是拍攝約塞米蒂的第一人，他在1861年用18×22英寸巨幅濕版相機拍了這個場景。我用相紙也拍出了同樣影調的照片，不過我比沃特金斯更有優(yōu)勢，因為有公路讓我開車過來。我的感光相紙不需要立即沖洗，還有，我用電腦技術進行后期處理，越用相紙拍攝，我越敬佩那些19世紀的攝影大師們。你能想像在1861年，他們背著18×22英寸巨幅相機，巨幅的玻璃版，化學藥品，暗房帳篷來到約塞米蒂荒野時的場景嗎？根本沒有路，沃特金斯背著這么多東西爬到8000英尺的山峰上去創(chuàng)作。而今天，我們的相機不到一公斤重，還有很多人抱怨。繁雜的程序和沉重的負擔讓我深深體會到前輩們的不易。

Calotype photography required some adjustment to the style of photography I have become accustom to in this time of digital photography. I have a strong large format film photography background， however， over the past several years I have been developing a new style of photography suited for the digital age. While large format work is a time consuming and thoughtful process， digital photography allows for quick shooting of many images. The bad digital images just throw away. This type of thinking does not work well with large format photography. So， I had to go back in time to the old way of looking and thinking. It actually felt good to revive the old style and combine it with the new style of digital photography. I have found there is room for both styles in my world of image making. In fact， I find that my skills and perception have grown by using both styles of photography. The large format and digital photographic methods are complimentary to each other， providing for a much broader range of visual imagery opportunities.

碘化銀相紙攝影法修整了我之前那種用數(shù)碼相機所形成的攝影風格。我因為擁有大畫幅膠片攝影的背景，在過去的一些年，我一直在努力發(fā)展出一種適應于數(shù)碼時代的新攝影風格。但大畫幅攝影是個需要深思熟慮的過程，不像數(shù)碼攝影可以快捷地拍攝許多照片，而沒拍好的照片只要扔掉就可以了。（數(shù)碼攝影）的這種思維方式并不適合大畫幅攝影。所以，我不得不用以前那個年代（攝影時的工作方式）去觀察和思考。其實將那種復古的風格和數(shù)碼攝影的新風格結合在一起是非常棒的，我發(fā)現(xiàn)通過融合運用這兩種攝影風格，我的攝影技能和攝影感覺有了很大進步，（這極大地拓展了我的攝影空間）。大畫幅和數(shù)碼攝影二者各有千秋，如果彼此結合，將會提供更廣泛的視覺形象的表現(xiàn)機會。

山谷北坡，約塞米蒂，加利福尼亞州約塞米蒂谷是真正的世界的奇觀。這里矗立著數(shù)面巨大的高達3000英尺（約1000米）的花崗巖墻。從谷底向上看，沒有言語可以充分地表達當時的那種心情。

Photography is about visual communication. I do enjoy sharing my experiences through photographic images. I find that my photographs many times are not just a pure documentation of a scene， but the composition is influenced by my individual perception of the subject matter. For instance， when I make a portrait， the resulting image is highly influenced by my relationship with the subject. Even when taking a landscape or cityscape， the composition is influenced by my point of view of the subject. The position of the camera， the choice of lens focal length， up angle or down angle， straight on view or side view， all are decisions that are made adding some of my personal perspective into the composition.

攝影是視覺傳達，我喜歡通過攝影圖像分享我對攝影的經(jīng)驗。我發(fā)現(xiàn)我的很多照片不是純粹的紀實照片，而是受到很多個人因素的影響。比如，當我拍肖像人物時，與被拍者的關系會影響到最終的拍攝結果。即使拍攝自然風光和城市風光，我的觀點都會影響到我的創(chuàng)作。甚至周圍的風景或城市景觀都能影響到我的拍攝，包括有些時候相機的位置、選擇鏡頭焦距、上下的角度，以及左右的視圖，都是我主觀判斷的結果。

I plan to continue making Calotype photographs and improving the finished quality of the images. I hope to publish a book on my adventures with Calotype photography in the near future.

我打算繼續(xù)使用碘化銀相紙攝影法，并提高成像質量。我會在不久的將來出版一本關于我自己嘗試碘化銀相紙攝影法進行攝影的書籍。