为什么老派摄影师认为您只是个时髦的时髦
When you learned photography the hard way, it’s hard not to see the new generation as simpletons spoiled by the advance of tech. Today, we’re learning about the history of photography, and how hard it really was.
当您以艰辛的方式学习摄影时，很难不将新一代视为被技术进步宠坏的简单事物。 今天，我们正在学习摄影的历史，以及摄影的难度。
There’s a long history of technological advancements in photography. Digital cameras in particular have not only have improved image quality, but have also made photography more and more accessible to us, the common rabble, much to the annoyance of professionals and high-level enthusiasts. Is there merit to this argument? Let’s take a look today, and find out some surprising, very interesting answers.
摄影技术的进步源远流长。 尤其是数码相机不仅提高了图像质量，而且使摄影越来越容易为我们服务，这是常见的麻烦，这使专业人员和高级发烧友大为恼火。 这种说法有道理吗？ 今天让我们看一下，找出一些令人惊讶的，非常有趣的答案。
如此简单，即使是白痴也能做到 (So Easy, Even An Idiot Could Do It)
Modern digital cameras really are ridiculously easy to use. Auto focus, auto white balance, auto ISO, auto aperture, auto shutter speed—you press a button, and they do the rest. You don’t have to know anything about light, don’t have to deal with developing film, nor with photographic papers. Even with a big, impressive interchangeable lens camera, you’re basically a kid spoiled by technology, making a precious art form accessible to the the artless common man. This attitude is probably as old as the second generation of photographic technology, and it was just as grumpy and mean spirited then as it is today.
现代数码相机确实非常易于使用。 自动对焦，自动白平衡，自动ISO，自动光圈，自动快门速度-只需按一个按钮，其余的操作就可以完成。 您不必对光有任何了解，也不必处理胶卷或相纸。 即使配备了大型，令人印象深刻的可互换镜头相机，您基本上还是一个被技术宠坏的孩子，这使无艺术的普通人可以使用一种珍贵的艺术形式。 这种态度可能与第二代摄影技术一样古老，并且它和今天一样脾气暴躁，刻薄。
And on the flipside of that coin, modern photographers often fail to understand the importance of great photographers of years past, and how the work they do is only possible because of the trails blazed by pioneers in the field years ago. The above photograph was taken in 1936 by a Henri Cartier-Bresson, an early 20th century photographer, known for his almost documentarian style of “street photography” that influenced generations of photographers.
与此相反，现代摄影师常常无法理解过去多年杰出摄影师的重要性，而他们的工作之所以成为可能，是因为几年前该领域开拓者开辟了道路。 上面的照片是20世纪初期的摄影师Henri Cartier-Bresson于1936年拍摄的，他以纪录片风格的“街头摄影”而著称，这种风格影响了几代摄影师。
In 2006, it was jokingly inserted into a Flickr in a group called “Delete Me,” where photographers post their images to be critiqued. It was almost instantly panned by the users there—“too blurry,” or “too grainy.” Spoiled by the advances of modern technology, the modern digital photographers failed to understand why an image should be anything less than immaculately clean and sharp, free of reticulation or film grain. By judging this work of art (which sold in 2008 for $265,000) by modern standards, modern artists fail to understand the importance of their technological advances, not to mention fail to understand the artistry of an important and influential talent. Today, we’ll attempt to bring old and young together to appreciate the clever advances of technology by understanding just how hard it used to be to take a photo of something.
在2006年，它被开玩笑地插入了名为“删除我”的Flickr中，摄影师在其中发布要评论的图像。 那里的用户几乎立即将其平移-“太模糊”或“太粒状”。 现代数码摄影师被现代技术的进步所宠坏了，但他不明白为什么图像应该是无瑕的干净，锐利，没有网眼或胶片颗粒的东西。 通过以现代标准来判断这件艺术品( 2008年以26.5万美元的价格出售)，现代艺术家无法理解其技术进步的重要性，更不用说无法理解重要而有影响力的人才的艺术性了。 今天，我们将尝试让老年人和年轻人聚在一起，通过了解过去拍摄某件东西的难度来欣赏技术的聪明发展。
相机暗箱，Daguerreotypes和摄影的诞生 (Camera Obscura, Daguerreotypes, and The Birth of Photography)
We’ve talked about camera obscura nearly ad nauseum, as it’s such a great illustration of the physics of how your camera works. But “photography” as we know it didn’t really begin with camera obscura, although early camera obscura can be thought of as a sort of proto-photography.
我们已经谈论过相机暗中的问题，因为它很好地说明了相机的工作原理。 但是，我们知道的“摄影”并不是真正的摄影机遮盖物，尽管早期的摄影机遮盖物可以被认为是一种原始摄影。
This is one of the oldest images taken with a camera obscura (the oldest image still in existence), developed with a process that uses pewter plate as an image plane. Joseph Nicéphore Niépce created this first permanent photographic image (sometimes called a Heliograph) by hardening bitumen, or asphault, on a pewter plate. Bitumen reacts to light by hardening, with a positive image created by a solvent bath. While Niépce had come up with a very difficult, but very clever way to capture and record light, the image quality was far from good.
这是用相机暗箱拍摄的最古老的图像之一(仍然存在的最古老的图像)，该过程是通过使用锡铅板作为图像平面的过程开发的。 JosephNicéphoreNiépce通过在锡制板上硬化沥青(或称沥青)来创建了第一张永久性摄影图像(有时也称为Heliograph )。 沥青通过硬化对光产生React，并具有溶剂浴产生的正像。 尽管Niépce提出了一种非常困难但非常聪明的方式来捕获和记录光，但是图像质量却差强人意。
The first image we might actually call “photography” was taken by Louis Daguerre, who is known not only an artist, but a physicist—pretty much the skillset it took to be an originator of photography. While we can’t credit Daguerre for inventing photography outright, he did work with Niépce on a chemical process that would become the “Daguerrotype”—what we know as the first viable method of creating permanent photographs.
我们实际上可以称其为“摄影”的第一张照片是由路易斯·达盖尔(Louis Daguerre)拍摄的，他不仅是一名艺术家，而且还是一名物理学家-相当多的技巧成为了摄影的鼻祖。 尽管我们不能称赞Daguerre彻底发明了摄影技术，但他确实与Niépce合作进行了化学过程，该过程将成为“ Daguerrotype”(Daguerrotype)，这是创建永久照片的第一种可行方法。
Other inventors and clever people had contributed by independently creating early photographic methods (like Hércules Florence), although Daguerre is best known for his method, which was bought from him and made public domain by the government of France.
其他发明家和聪明的人通过独立创造早期的摄影方法做出了贡献(例如HérculesFlorence )，尽管达盖尔以他的方法而闻名，该方法是从他那里购买的，并由法国政府公之于众。
Many of the hallmarks of this kind of daguerreotype photography were limitations of the medium. They were created on sheets of metal with materials that were not terribly photosensitive. Because of this, extremely long exposures were needed to get any sort of image at all—so subjects were stiffly posed, and rarely smiled.
这种daguerreotype摄影的许多标志是媒介的局限性。 它们是在金属板上创建的，而这些材料并不是非常光敏的。 因此，需要极长时间的曝光才能获得任何类型的图像，因此被摄对象僵硬地摆姿势，很少微笑。
Daguerreotypes also had the limitation of not being reproducible, as the image was captured directly on the surface of the material. This lead to the development of glass-based photo plates and negatives, which eventually could be used to print copies of images.
Daguerreotypes还具有无法复制的局限性，因为图像直接捕获在材料的表面上。 这导致了玻璃基照相板和底片的发展，最终可用于打印图像副本。
柯达成为摄影主流，并为所有时髦人士破坏 (Kodak Made Photography Mainstream and Ruined it For All The Hipsters)
Photographers in the mid to late 19th century had to be very clever, very technically savvy people, and had to carry around huge supplies of hazardous chemistry and heavy glass or metal plates to take any sort of image at all. George Eastman set out to change that, ruining photography forever by taking it out of the hands of combination chemist/artists. The process was more accessible to a broad market audience, much to the chagrin of professionals and “old school” photographers. And thus, photography was ruined forever!
19世纪中叶到后期的摄影师必须是非常聪明，技术精通的人，并且必须携带大量危险化学物质和重玻璃或金属板来拍摄任何类型的图像。 乔治·伊士曼(George Eastman)着手改变这一点，将其从化学家/艺术家的联合手中夺走，从而永远毁了摄影。 广大市场观众更容易使用此过程，这让专业人士和“老派”摄影师非常恼火。 因此，摄影被永远毁了！
Eastman’s first model camera was given the invented nonsense word “Kodak.” This name eventually became the name of his company, the “Eastman Kodak” company, and later, as we know it, simply “Kodak.” Eastman was a clever inventor, and was responsible for many designs for easy point-and-shoot style cameras. However, his major contribution was the invention of photographic films in rolls, first on paper bases, then on cellulose. Even when film cameras started using color chemistry, these subsequent generations would be based pretty directly on Eastman’s cellulose model.
伊士曼(Eastman)的第一台型号相机被赋予了胡说八道的“柯达”字样。 这个名称最终成为他的公司的名称，即“伊士曼柯达”公司，后来，众所周知，后来简称为“柯达”。 伊士曼(Eastman)是一位聪明的发明家，负责简易傻瓜相机的许多设计。 但是，他的主要贡献是发明了胶卷照相胶片，首先是在纸基上，然后在纤维素上。 即使胶卷相机开始使用彩色化学方法，这些后代也将直接基于伊士曼的纤维素模型。
While there was quite a lot of interest in the Daguerreotypes (and similar monochrome photography), the advent of mainstream film systems lead to the market pressures that continued to push photography to create easier, more convenient products, as well as improved image quality along every step of the way. Don’t like carrying around heavy glass plates and chemistry? Here’s a film system so simple, anyone can use it. Don’t like loading your camera in the dark? Here’s a camera and film canister that can be loaded in broad daylight. Don’t like developing your own film? Send it to our laboratory, and we’ll develop and print it for you.
尽管对Daguerreotype(和类似的单色摄影)有很大的兴趣，但主流胶卷系统的出现导致市场压力，不断推动摄影创作出更容易，更方便的产品，以及在每个摄影机上提高图像质量一步。 不喜欢随身携带沉重的玻璃板和化学物质？ 这是一个非常简单的电影系统，任何人都可以使用。 不喜欢在黑暗中加载相机？ 这是一个可以在光天化日之下装载的相机和胶卷罐。 不喜欢自己制作电影吗？ 将其发送到我们的实验室，我们将为您开发和打印。
Fast forward some 200 years from the first photograph, and photographers are still complaining about how easy it is to take pictures compared to how it was in “the old days.” It would serve us all well to know that even the most old school of old school photographers probably isn’t coating and developing daguerrotype plates, and should readily embrace newer, more superior technology. And those of us that have little to no experience with the methods of the “old days” would be well served to know just how far we’ve come in just under 200 years of improved cameras, films, and photographic methods.
与第一张照片相比，快进了200年，摄影师仍然抱怨与“过去”相比，拍摄照片有多容易。 我们都应该知道，即使是最老派的老派摄影师也可能不会涂布和开发胶版印版，而应该欣然接受更新，更高级的技术。 我们中那些对“过去”的方法几乎没有经验的人，将非常了解我们在不到200年的改进的照相机，胶卷和照相方法中所取得的成就。
Image Credits: The Photographer by Andreas Photography, Creative Commons. Hyères, France, 1932 copyright the estate of Heni Cartier-Bresson, assumed fair use. Pinhole Camera (English) by Trassiorf, in public domain. All daguerreotypes assumed in public domain. Kodak Kodachrome 64 by Whiskeygonebad, Creative Commons. Daguerrotype Camera by Liudmila & Nelson, public domain. All other images assumed public domain or fair use.
图片来源：Andreas Photography的摄影师，创用CC。 1932年，法国耶尔市的亨尼·卡蒂埃·布列森(Heni Cartier-Bresson)拥有版权，并被合理使用。 Trassiorf的Pinhole Camera(英语) ，公共领域。 所有在公共领域假定的daguerreotypes。 Whiskeygonebad的柯达Kodachrome 64，知识共享。 Liudmila＆Nelson的Daguerrotype相机，公共领域。 所有其他图像均假定为公共领域或合理使用。