布列松论摄影「布列松的」

大家好，布列松论摄影「布列松的」很多人还不知道，现在让我们一起来看看吧！

Henri Cartier-Bresson

There is subject in all that takes place in the world, as well as in our personal universe. We cannot negate subject. It is everywhere. So we must be lucid toward what is going on in the world, and honest about what we feel.

世界上所有发生的事情都有主题，包括我们个人的宇宙。我们不能改变主题。它哪里都是。所以我们必须清楚这世上都在发生什么，并诚实对待我们的感受。

Subject does not consist of a collection of facts, for facts in themselves offer little interest. Through facts, however, we can reach an understanding of the laws that govern them, and be better able to select the essential ones which communicate reality.

主题不是由一堆事实组成，事实本身没有意思。但是，通过事实，我们可以明白管制他们的规矩，并在其中更好地选择能传递现实，必不可少的那些。

In photography, the smallest thing can be a great subject. The little, human detail can become a leitmotiv. We see and show the world around us, but it is an event itself which provokes the organic rhythm of forms.

在摄影中，最小的东西可以成为一个伟大的主题。小的，人性化的细节可以成为一个主旋律。我们看到并展示我们周围的世界，但它本身就是一个激发形式的有机节奏的事件。

There are thousands of ways to distill the essence of something that captivates us; let's not catalogue them. We will, instead, leave it in all its freshness.

有上千种方法提取那些吸引我们的东西的精华；我们不要标记他们，要保持他们的新鲜感。

There is a whole territory which is no longer exploited by painting. Some say it is because of the discovery of photography. However it came about, photography has taken over a part of this territory in the form of illustration.

有一整个领域没有被画画剥削。有些人说是因为摄影的发明。但结果是，摄影以例证的方式在此领域占去了一部分。

One kind of subject matter greatly derided by present day painters is the portrait. The frock coat, the soldier's cap, the horse now repel even the most academic of painters. They feel suffocated by all the gaiter buttons of the Victorian portrait makers. For photographers perhaps because we are reaching for something much less lasting in value than the painters--this is not so much irritating as amusing, because we accept life in all its reality.

一种被现代画家嘲笑的主题就是肖像。长袍、士兵的帽子、现在甚至令最学院派的画家排斥。维多利亚时代肖像画家的绑腿纽扣让他们感到窒息。对摄影师来说，也许是因为我们在追求的价值远低于画家的东西——这与其说是烦人不如说是有趣，因为我们接受了生活的全部现实。

People have an urge to perpetuate themselves by means of a portrait, and they put their best profiles forward for posterity. Mingled with this urge, though, is a certain fear of black magic; a feeling that by sitting for a camera portrait they are exposing themselves to the workings of witchcraft of a sort.

人们有一种通过肖像使自己永存的冲动，他们将自己最好的形象呈现给后代。然而，与这种冲动混合在一起的是对黑魔法的某种恐惧。一种坐下来拍摄肖像就是将自己暴露在某种巫术的运作中。

One of the fascinating things about portraits is the way they enable us to trace the sameness of man. Man's continuity somehow comes through all the external things that constitute him--even if it is only to the extent of someone's mistaking Uncle for Little Nephew in the family album. If the photographer is to have a chance of achieving a true reflection of a person's world--which is as much outside him as inside him--it is necessary that the subject of the portrait should be in a situation normal to him.

We must respect the atmosphere which surrounds the human being, and integrate into the portrait the inpidual's habitat-forman, no less than animals, has his habitat. Above all, the sitter must be made to forget about the camera and the photographer who is handling it. Complicated equipment and light reflectors and various other items of hardware are enough, to my mind, to prevent the birdie from coming out.

关于摄影一件迷人的事情就是它可以追溯一个人的相同之处。人的连续性不知何故来自于构成他的所有外在事物——即使只是有人将家庭相册中的叔叔误认为小侄子的程度。如果摄影师要有机会真实地反映一个人的世界——这个世界既在他的身外，也在他的内心——有必要让肖像的主体处于对他来说平常的状况。

我们必须尊重人的周围环境，将个人的栖息地融入到肖像中，就像动物一样，有自己的栖息地。最重要的是，必须让被拍摄者忘记相机和摄影师的存在。在我看来，复杂的设备和光反射器以及其他各种硬件足以防止真实的自己出现。

What is there more fugitive and transitory than the expression on a human face? The first impression given by a particular face is often the right one; but the photographer should try always to substantiate the first impression by "living" with the person concerned. The decisive moment and psychology, no less than camera position, are the principal factors in the making of a good portrait. It seems to me it would be pretty difficult to be a portrait photographer for customers who order and pay since, apart from a Maecenas or two, they want to be flattered, and the result is no longer real. The sitter is suspicious of the objectivity of the camera, while the photographer is after an acute psychological study of the sitter.

还有什么比人脸上的表情更短暂呢？一张特定的脸给人的第一印象往往是正确的。但摄影师应该始终尝试通过与相关人员“生活”来证实它。决定性的时刻和心理，不亚于相机的位置，是制作好肖像的主要因素。在我看来，对于订购和付款的客户来说，成为一名肖像摄影师将非常困难，因为除了一两个梅塞纳斯之外，其他人想要被美化的结果，最终作品不再真实。被拍者怀疑相机的客观性，而摄影师则要对拍摄对象进行敏锐的心理研究。

It is true, too, that a certain identity is manifest in all the portraits taken by one photographer. The photographer is searching for identity of his sitter, and also trying to fulfill an expression of himself. The true portrait emphasizes neither the suave nor the grotesque, but reflects the personality.

确实，一位摄影师拍摄的所有肖像都体现了某种身份。摄影师在寻找他的模特的身份，也在努力实现自己的表达。真正的人像不强调温文尔雅，也不强调怪诞，而是体现个性。

I infinitely prefer, to contrived portraits, those little identity-card photos which are pasted side by side, row after row, in the windows of passport photographers. At least there is on these faces something that raises a question, a simple factual testimony--this in place of the poetic identification we look for.

比起做作的肖像，我更喜欢护照摄影师橱窗里并排粘贴的身份证小照片。至少在这些面孔上存在着一些引发问题的东西，一个简单的事实见证——这代替了我们所寻找的诗意的认同。

Of course, I cannot see myself working, any more than I can really hear my own voice, but friends of mine tell me it's very funny to see me at work: jumping, tiptoeing, creeping up to people, or shying away. Sometimes people are not aware at all; other times they are aware, and then you must wait and look elsewhere and hope they'll go back to what they were doing. It's as if you have thrown a stone in the water.

You sometimes have to wait until all the waves are gone until the fish come back again. But very often your only opportunity is the first time. That's how it was in China--there was no second chance because they see you from miles away, before you can even take a light meter out. If you do, you've ruined the picture. You have to have some psychological insight, you have to know the people and you must work in a way that's acceptable to them.

There you must smile-never laugh, because that's considered making fun. Smile, take your time, and never come bursting in with your own personality. You have to lie low. Of course you can push and perhaps raise your voice a notch, but it's like blowing a horn. You have to approach on tiptoe. You must be like a sensitive emulsion, a sensitive plate. Approach gently, tenderly, and never intrude, never push, Otherwise, if you use your elbows, it will work against you. Above all, be human!

当然，我看不到自己在工作，就像我听不到自己的声音一样，但我的朋友告诉我，看我在工作时很有趣：有时跳跃、有时蹑手蹑脚、有时爬到人前或回避。人们有时根本没有意识到；其他时候他们知道，然后你必须等待并看向别的地方，希望他们能回到他们正在做的事情。就好像你在水里扔了一块石头。

有时你必须等到所有的波浪都消失了，鱼才会再次回来。但很多时候，你唯一的机会就是第一次。在中国就是这样——没有第二次机会，因为他们在数英里之外就能看到你，你甚至还没有拿出测光表。如果你这样做了，你就毁了这幅画。你必须有一些心理洞察力，你必须了解人们，你必须以他们可以接受的方式工作。

在那里你必须微笑——而不是嘲笑，因为那被认为是在开玩笑。微笑，慢慢来，永远不要带着自己的个性来。你必须低调。当然，你可以逼迫甚至提高你的声音一个档次，但这就像吹喇叭一样。你必须踮着脚尖接近。你必须像一个敏感的乳霜，一个敏感的印版。轻轻地、温柔地接近，不要入侵，不要逼迫，否则，如果你用你的肘部，它会对你不利。最重要的是，做人！

整理/ Organize：Lisa

编译/ Cindy & Mary

审核/ Celine & Louis

制作/ Produce：AIPU

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