黑白复古的光影世界
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我与灰卡的自拍像
这张自拍像拍摄于我的工作室
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申明:本网站内容仅用于学术交流，如有侵犯您的权益，请及时告知我们，本站将立即删除有关内容。 我与灰卡的自拍像
这张自拍像拍摄于我的工作室内，同时运用了窗户光和布光。灰卡是用来做参照的，照片洗出来后，照片上的灰卡和现实中的灰卡对比有助于将照片洗印得更好。 收获节的夫妻肖像 2
8×10英寸大画幅相机拍摄。由于长曝可以看出有点虚。皮肤影调很漂亮，但必须指出由于使用色盲相纸，男子的蓝眼睛看起来有点透明，金发变成了黑发。
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.
收获节之后的许多年里我做了很多其他项目，但我最近迷上了碘化银相纸摄影术。现在是数码摄影当家的时代，可我想如果用当代感光材料和计算机技术来提升碘化银摄影相片的质量的话，同时保留色盲片独有的影调，或许会别有味道，所以我开始发展21世纪的碘化银纸摄影法。
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.
我现在用的相纸不完全是色盲纸，我用可变反差相纸，因此除了蓝以外对其他的光也敏感。然而，主要还是感蓝。只是，我现在用的相纸要比35年前用的相纸感光度高一些，我估计ISO感光度在特定光线条件下约有5左右。因此在制作照片时要切记色彩可能对ISO产生很大的影响，如果蓝光多，ISO值就高，如果是绿色或黄色，ISO感光度将会非常低，可能数值只有1或2。相纸对纯粹的红光不感光。在暗室纯粹的红光足以让我读报纸，但不会使相纸曝光。 收获节的夫妻肖像 1
8×10英寸大画幅相机拍摄。因为色盲感光材料的使用，皮肤的色调变得深而丰富。仔细看几乎可见相纸的纤维颗粒。 迈克尔・林德利的肖像
这是布光棚拍的一张肖像，光圈F8，8秒曝光。我不知道迈克尔如何做到这么久时间如何一动不动。不管怎么样结果让人惊喜，肖像很锐，细看T恤上纹理都可以看到。 收获节的集体合影
拍集体照永远是个挑战。即使在最好的条件下，普通相机拍集体照让大家表情一致都不容易，用相纸拍就更不容易了，因为曝光时间更长。
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・福克斯・塔尔博特发明了世界上最早的“负―正”摄影术。（这种摄影法的负片是采用在一种优质的书写纸上涂碘化钾和硝酸银，制成一种半透明的纸质负片。）感光纸被放进照相机里形成一种潜在的（看不见的）成像，然后这张感光纸经过冲洗，形成一个可见的负像。被冲洗出来的负片与未曝光的感光纸（氯化银纸）紧贴在一起，光穿过负片到感光纸上，最终形成一个正像（既我们通常说的接触印相）。定影之后可以看见正像。塔尔博特的这种摄影技术奠定了现代胶片摄影的基础。 水晶盆地的森林消防员，加利福尼亚州
水晶盆地国家森林公园的五个消防员站在他们的消防车前。这些勇敢的小伙子年复一年地在此保护着这里的人们和森林免受频发的致命火灾的伤害。
这张照片是实验绿色卡车在色盲相纸上的影调。我非常吃惊这个影调是很亮的，因为我以为它会很黑，显然感光纸对绿光的敏感度比我想像得强。 佛寺和公寓楼 ，中国无锡
很多次我发现在社会和自然中的平常或者不平常的事物凑在一起总是能够形成一种视觉的趣味。这张照片就是个例子。 行进的腿，上海，红坊艺术区
相纸摄影的特点之一是长曝。曝光可以从1/8秒到4分钟不等。1/8秒的快门速度下人行走的话会模糊，1/4秒的话会非常模糊，1/2秒时几乎看不到人，只看到落在地上的脚，1秒时人就消失了。这张照片的快门速度是1/2秒，我想让行进的腿和背景中腿的雕塑形成虚实对比。
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世纪70年代，我的这次尝试开始于与我的两个摄影学生的一次交谈。他们说将会有一个复古的收获节，我们可以拥有一个老式的摄影工作室，加入到这次狂欢活动中。人们可以穿着旧式服装，到我们的工作室里拍摄自己的肖像照片。我觉得这一切将会很棒，但我有另外的想法。我对学生们说，我们应当建立一个像1840年或者1850年时候的摄影棚，使用负像底片来拍摄。我们的使用过程类似于1839年英国人威廉・亨利・福克斯・塔尔博特那样，先拍出负像底片，再冲洗为正像照片。塔尔博特的这种摄影方法被称为碘化银纸照相法。
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.
我向学生们解释采用这种来自于19世纪的摄影法拍出来的照片之所以看起来会有种老味道，并不是因为拍摄对象穿着旧式的衣服，或者经历了生活的磨砺，而是因为使用了当时的那种色盲摄影材料。这些色盲片只对蓝光和紫外线敏感，而对于绿光、黄光、红光并不敏感。 这些色盲相纸看世界与人眼看世界不太一样。这些相片看起来会非常奇怪是由于感光度的有限光谱。（因此），在这些相纸上，蓝眼睛看起来更透明，湛蓝的天空更突显亮白，雀斑在皮肤上看起来很显著，金发和绿树可能比预期显现得更暗。基本来说，蓝色的物体呈现在相片上会高度曝光，而其他颜色的物体则曝光较少。
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.
老照片看起来怀旧也由于它们曾经历岁月的洗礼。然而，那些色盲感光材料的使用也使得老照片里的主体的外貌看起来像是充满别样的怀旧的味道。 Amargosa 歌剧院，死亡谷，加利福尼亚州
Amargosa歌剧院坐落于加利福尼亚州死亡谷的小镇。这里夏天炎热至极，但是冬天却很舒服。多年前纽约市的一个艺人退休之后开设了这家歌剧院。现在，歌剧院不再对外演出，但对游客开放。
我拍了这张照片试验高调曝光。我想知道碘化银相纸如何表现高调影像。
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.
在这次收获节上，我们搭建了一个摄影棚，用一个300 mm 的Turner Reich镜头以及8" × 10"大画幅的Ansco 相机/Agfa胶卷来拍摄人物肖像。摄影棚里有个暗房是专门冲洗负片和相片的。在塔尔博特的时代，他需要用化学药品自制所有的感光材料。我们决定使用的色彩感光色相纸很容易买到，而比塔尔博特自己做的材料效果还要好。当然，我们使用的这种相纸，和塔尔博特自制的相纸有个共同点，就是感光度低。我们用很长的时间曝光。作为现代测量方法，感光度标准测量方法被称为“ISO”（国际标准化感光度）。而ISO感光度在数码相机里的标准数值为100，我们发现相纸的感光度接近“1”。 因此，由于长时间的曝光，我们发现许多肖像人物是在运动的，这绝对是一个难以处理的技术问题。在参加收获节的同时，我们大约制作了大约300幅人物肖像， 许多不同肤色的人拍摄的相片影调非常完美。 加州沙丘炉管井的树（Stove Pipe Wells Sand Dune）
死亡谷有过最高温的记录，有些人喜欢夏天去这里体验高温，挑战极限，而我喜欢在冬天温度比较适宜的时候去。冬天这里也是旺季，是美国大陆上最大的国家公园，公园里有美国海拔最低的地方，被称为“坏水”（Bad Water），从坏水穿过层峦叠嶂可以看到美国大陆的最高山惠特尼山。死亡谷从沙丘到峡谷，这里尽皆摄影的最佳处。 古怪的建筑，Placerville，加利福尼亚州
这里有许多1800年代的建筑。照片中的这个建筑建于1911，距今100多年了，它有一间可以买到西装的商店。
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 的相机，携带的是90mm， 135mm， 150mm和 210mm的镜头，和4到8个的片夹（当然里面盛的是相纸）。不同与数码摄影，用大画幅相机拍摄照片时，这是一个需要深思熟虑的功夫活。有时候我需要坐等时机，观察环境，取景构图，然后记下让我开心和感动的时刻。我发现一天最好拍五到六张照片，很多时候我出去一整天只拍一张。我须臾不离三角架。我通常带着两只测光表（测量入射光，反射光和现场光）以及测光表的备用电池。当然别忘了带冠布。我会把这些东西都装进背包。我有一个小的可折叠的轮子装在我的背包上，推着比背着更方便。 吉他手，哥伦比亚，加利福尼亚州
哥伦比亚是加州保护最好的淘金小镇之一，这里有老式的建筑，小镇主要是为游客服务的，如果去约塞米蒂，顺便看看淘金小镇，这里非常值得一游。 街站
这张照片表明暗影下的细节也可以在相纸上被记录得很丰富。 酒店的白墙，死亡谷，加利福尼亚州
这张照片目的在于研究亮调下被拍体的纹理。我想弄清楚碘化银相纸如何表现斑驳的油漆和窗户框的破损的木头的细节。
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.
我根据测光表读数，加上自己的经验判断，来设定光圈值和快门速度。近来我发现在光线好的情况下，用F16的光圈和1/4秒的快门速度是个很好的曝光组合。这使得我喜欢用ISO4的相纸到户外拍摄。
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.
无论做过怎样的摄影实验，我仍然对照片的构图和主题感兴趣。我努力成为一位纪实摄影师，拍摄出具有社会意义和历史意义的照片。我太喜欢影调丰富的照片了。 中国无锡湿地，拱桥
湿地靠近江南大学。我多次前往拍摄，这里是一处美丽的公园，有许多精致的人造景观，许多人喜欢在这里游玩，或在桥上小坐。 约塞米蒂谷山谷风光，加州福利亚
山谷风光是约塞米蒂最美丽的风光，卡尔顿・沃特金斯是拍摄约塞米蒂的第一人，他在1861年用18×22英寸巨幅湿版相机拍了这个场景。我用相纸也拍出了同样影调的照片，不过我比沃特金斯更有优势，因为有公路让我开车过来。我的感光相纸不需要立即冲洗，还有，我用电脑技术进行后期处理，越用相纸拍摄，我越敬佩那些19世纪的摄影大师们。你能想像在1861年，他们背着18×22英寸巨幅相机，巨幅的玻璃版，化学药品，暗房帐篷来到约塞米蒂荒野时的场景吗？根本没有路，沃特金斯背着这么多东西爬到8000英尺的山峰上去创作。而今天，我们的相机不到一公斤重，还有很多人抱怨。繁杂的程序和沉重的负担让我深深体会到前辈们的不易。
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.
碘化银相纸摄影法修整了我之前那种用数码相机所形成的摄影风格。我因为拥有大画幅胶片摄影的背景，在过去的一些年，我一直在努力发展出一种适应于数码时代的新摄影风格。但大画幅摄影是个需要深思熟虑的过程，不像数码摄影可以快捷地拍摄许多照片，而没拍好的照片只要扔掉就可以了。（数码摄影）的这种思维方式并不适合大画幅摄影。所以，我不得不用以前那个年代（摄影时的工作方式）去观察和思考。其实将那种复古的风格和数码摄影的新风格结合在一起是非常棒的，我发现通过融合运用这两种摄影风格，我的摄影技能和摄影感觉有了很大进步，（这极大地拓展了我的摄影空间）。大画幅和数码摄影二者各有千秋，如果彼此结合，将会提供更广泛的视觉形象的表现机会。 山谷北坡，约塞米蒂，加利福尼亚州
约塞米蒂谷是真正的世界的奇观。这里矗立着数面巨大的高达3000英尺（约1000米）的花岗岩墙。从谷底向上看，没有言语可以充分地表达当时的那种心情。
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.
摄影是视觉传达，我喜欢通过摄影图像分享我对摄影的经验。我发现我的很多照片不是纯粹的纪实照片，而是受到很多个人因素的影响。比如，当我拍肖像人物时，与被拍者的关系会影响到最终的拍摄结果。即使拍摄自然风光和城市风光，我的观点都会影响到我的创作。甚至周围的风景或城市景观都能影响到我的拍摄，包括有些时候相机的位置、选择镜头焦距、上下的角度，以及左右的视图，都是我主观判断的结果。
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.
我打算继续使用碘化银相纸摄影法，并提高成像质量。我会在不久的将来出版一本关于我自己尝试碘化银相纸摄影法进行摄影的书籍。