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[探索发现] 【整理】DC 2008-02-18, The Genius of Photography 摄影演义 - 10

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[探索发现] 【整理】DC 2008-02-18, The Genius of Photography 摄影演义 - 10

The Genius of Photography 摄影演义


In the course of our 170 year relationship, photography has delighted us, served us, moved us, outraged us and occasionally disappointed us. But mainly, it has intrigued us by showing the secret strangeness that lies beneath the world of appearances. And that is photography's true genius



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Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunarshow, also known as Nadar.

This self-portrait is quite characteristic. He’s looking toward the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he uses it. When he opens his studio, he reproduced his signature at a large scale across the top of the facade of the building in red. And when he stamps the photographs of his, they’re stamped in red.

Nadar is a made-up name, it’s a professional name. And he becomes famous. It’s a sort of copyright if you will. And there is a famous lawsuit with his brother over whether or not the brother is allowed to use that name. And so there is a man who knows how to put together a program of publicity.

Nadar was the ending war hawk of
Bohemian in Paris, a celebrity artist who photographed upcoming stars in a style that rewrote the rules.
His portraits of artists are
unrivaled because his photographing then is equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever.

He doesn’t attempt to flatter people, he’s unflinching in the way he looks at people, but he is never cruel. But he always isolates his sitters. They’re against completely playing backgrounds. And unlike other photographers of the period, there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person.

When Nadar photographed Sela Brinta, uh, she was nearly unknown, she’s very young, quite wonderful looking because as her face is very fresh. And he wraps some large pieces of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s a way of assuring your own in mortality in part.

 

Bohemian  波希米亚人

A person with artistic or literary interests who disregards conventional standards of behavior.

放荡不羁的文化人:对艺术和文学感兴趣,不混同世俗标准和行为的人

 

unrivaled

Having no rival or equal; incomparable.

无敌的:没有敌手或对手的;无与伦比的

 

unflinching

not showing fear or shrinking in the face of danger, difficulty, etc 临危不惧的; 知难而上的

 

wrap

also wrap up
to put paper or cloth over something to cover it
wrap sth in sth
 The present was beautifully wrapped in gold paper.

 

if you wrap your arms, legs, or fingers around something, you use them to hold it
wrap sth around sb/sth
 He wrapped his arms around her waist.

 

frock

old-fashioned a woman's or girl's dress

 

 

[ 本帖最后由 Alick 于 2008-3-20 17:21 编辑 ]

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HW

Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunarshow, also known as Nadar. This self-portrait is quite characteristic. He’s looking tore to the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he uses it. When he opens his studio, he reproduced his signature at a large scale across the top of the fascia of the building in red. And when he stamps the photographs of his, they’re stamped in red. Nadar is a made-up name, it’s a profession name. And it becomes famous, it’s a sort of copyright if you will. And there is a famous loss with his brother over whether or not the brother is allowed to use that name. And suddenly Sisan Mathews who knows how to put together a program of publish. Nadar was the ending war hawk of Bahia in Paris, a celebrity artist who photographed upper coming stars in a style that we wrote the rules. His portraits of artists unrivaled because his photographing then was equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever. He doesn’t attempt to flounder people, he’s on flinching in the way he looks at people, but he never crew. But he always isolates his sitters, they’re against completely plain backgrounds. And unlike other photographers, the period there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person. One in a dark photograph Sela Brinta, uh, she was nearly unknown, she’s very, uh, quite wonderful looking because as her face is very fresh. And he wraps some large piece of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s aware of assure of your own in mortality in part.
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on Sophi_a

Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunarshow, also known as Nadar.

This self-portrait is quite characteristic. He’s looking toward to the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he uses it. When he opens his studio, he reproduced his signature at a large scale across the top of the fascia of the building in red. And when he stamps the photographs of his, they’re stamped in red.

Nadar is a made-up name, it’s a profession name. And it becomes famous, it’s a sort of copyright if you will. And there is a famous lawsuit with his brother over whether or not the brother is allowed to use that name. And suddenly Sisan Mathews who knows how to put together a program of publicity.

Nadar was the ending war hawk of Bahia in Paris, a celebrity artist who photographed upper coming stars in a style that we wrote the rules. His portraits of artists unrivaled because his photographing then was equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever.
He doesn’t attempt to flounder people, he’s on flinching in the way he looks at people, but he never cruel. But he always isolates his sitters, they’re against completely plain backgrounds. And unlike other photographers, the period there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person.
One in a dark photograph Sela Brinta, uh, she was nearly unknown, she’s very, uh, quite wonderful looking because as her face is very fresh. And he wraps some large piece of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s aware of assure of your own in mortality in part.
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On above

Naturally expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunarshow, also known as Nadar.

This self-portrait is quite characteristic. He’s looking toward / the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he uses it. When he opens his studio, he reproduced his signature at a large scale across the top of the fascia of the building in red. And when he stamps the photographs of his, they’re stamped in red.

Nadar is a made-up name, it’s a professional name. And he becomes famous, it’s a sort of copyright if you will. And there is a famous lawsuit with his brother over whether or not the brother is allowed to use that name. And suddenly Sisan Mathews who knows how to put together a program of publicity.

Nadar was the ending war hawk of Bahia in Paris, a celebrity artist who photographed upper coming stars in a style that rewrote the rules.
His portraits of artists are unrivaled because his photographing then is equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever.
He doesn’t attempt to flatter people, he’s on flinching in the way he looks at people, but he is never cruel. But he always isolates his sitters, they’re against completely planning backgrounds. And unlike other photographers of the period, there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person.
When Nadar photographed Sela Brinta, uh, she was nearly unknown, she’s very young, quite wonderful looking because as her face is very fresh. And he wraps some large pieces of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s aware of assuring your own in mortality in part.
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on luoyingjun

Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunarshow, also known as Nadar.

This self-portrait is quite characteristic. He’s looking toward / the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he uses it. When he opens his studio, he reproduced his signature at a large scale across the top of the facade of the building in red. And when he stamps the photographs of his, they’re stamped in red.

Nadar is a made-up name, it’s a professional name. And he becomes famous, it’s a sort of copyright if you will. And there is a famous lawsuit with his brother over whether or not the brother is allowed to use that name. And suddenly Sisan Mathews who knows how to put together a program of publicity.

Nadar was the ending war hawk of Bahia in Paris, a celebrity artist who photographed upcoming stars in a style that rewrote the rules.
His portraits of artists are unrivaled because his photographing then is equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever.
He doesn’t attempt to flatter people, he’s unflinching in the way he looks at people, but he is never cruel. But he always isolates his sitters, they’re against completely planning backgrounds. And unlike other photographers of the period, there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person.
When Nadar photographed Sela Brinta, uh, she was nearly unknown, she’s very young, quite wonderful looking because as her face is very fresh. And he wraps some large pieces of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s a way of assuring your own in mortality in part.


genius is not without limitations
homework

Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult task was Gaspar Fealicks Tunashow, also known as Nada. This self-portrait is quite characteristic. He’s looking tore to the camera, quite fairly directly. You can’t tell that his hair is red. But he had red hair and so he used it. When he opens his studio, he reproduced his signature at a large * across the top of the fascia of the building in red. And when he stamps the photographs of his, they’re stamped in red. Nada is a made-up name, it’s a profession name. And it becomes famous; it’s a sort of copyright if you will. And there is a famous loss with his brother over whether or not the brother is allowed to use that name. And suddenly Sisal Mathews who knows how to put together a program of publish. Nada was the ending war hawk of Bahia in Paris, a celebrity artist who photographed upper coming stars in a style that we wrote the rules. His portraits of artists unrivaled because his photographing then was equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake * or huge thrones. He just photographs some standing in his daylight studio, looking totally authentic and wonderful which is why they’re probably the best portraits of artists ever. He doesn’t attempt to * people, he’s on * in the way he looks at people, but he never crew. But he always isolates his sitters; they’re against completely plain backgrounds. And unlike other photographers, the period there is nothing to indicate what a profession is, a writer is not holding up a pen and a painter is not holding up a brush. It’s the force of personality alone that has to convey the character of the person. One in a dark photograph Sela Brinta, she was nearly unknown, she’s very, quite wonderful looking because as her face is very fresh. And he wraps some large piece of cloth around her, uh, to isolate that beautiful neck and face. And so there’s really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear under the cilium, it’s about how you can project yourself into another medium, so it’s * of assure of your own in mortality in part.
殘陽懶懶地寫意著黃昏,透過門窗落在臉上…這就是人生,放走今天的夕陽,去擁抱明天的朝陽
homework

Natural expressions were not all that common in the 19th century. But one photographer who mastered the difficult art was Gaspard-Félix Tournachon also known as Nadar.

This sort of portrayal is quite characteristic. He is looking toward the camera quite fairly directly. You can’t tell but his hair is red. But he had red hair so and he uses it when he opens a studio he reproduces his signature at large scale across the top of the facade on top of the building in red. And when he stamps the photographs of his, they are stamped in red. Nadar is a made-up name, it’s a professional name, and it becomes famous, it is sort of copyright if you will. And there is a famous lawsuit with his brother over whether or not the brother is allowed to use that name. And so this invents who knows how to put together a program of publicity.

Nadar was the XX war hawk of the Bahia in Paris, a celebrity artist who photographed up and coming stars in a style that rewrote the rules. His portrayal of artists unrivaled because his photographing then is equals and he doesn’t have to dress them up or put them in sort of stupid settings with fake columns or huge thrones. He just photographs some standing in his daylight studio looking totally authentic and wonderful which is why they are probably the best portrayals of artists ever.

He doesn’t attempt to flatter people. He’s unflinching in the way he looks at people but he’s never cruel. But he always isolates his sitters. They are against completely plain backgrounds. And unlike other photographers of the period there is nothing to indicate what the profession is. A writer is not holding up a pen and a painter is not holding up a brush. It’s the force of the personality alone that has to convey the character of the person.

One Nadar’s photograph Sarabanha, she was nearly unknown she was very quite wonderful looking because her face is very fresh. He wrapped some large pieces of cloth around her to isolate that beautiful neck and face. And so there is really nothing else in the photograph except that. But it’s no longer about how expensive a frock you can afford to wear XX the ceiling. It is about how you can project yourself into another medium. So it’s a wave assuring your own in morality and part.
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