对于我们中的许多人来说，虽然拍照、分享和浏览照片已经成了日常生活中的习惯，但我们与图像的频繁接触并未培养我们在视觉表达上的素养。 这个课程的目的在于通过介绍影响摄影作品的创意、手段与技术，讨论观看照片与真正理解照片之间距离的问题。 在这个课程里，你将近距离观看纽约现代艺术博物馆收藏的照片，聆听从不同角度对照片的解读，以及摄影在将近180年历史中被使用的方式：作为艺术表现的途径、作为科学和探索的工具、作为纪实文献的媒介、作为讲述故事和记录历史的手段，以及作为日益视觉化的文化中一种交流和批评的模式。 学习目标 训练技巧，以便更好地检视和理解照片与摄影图像之间的不同。 发现语境如何影响摄影图像的制作、传播和接收。 学习摄影中各种不同模式的艺术和技术试验和创新。 探讨摄影在日益视觉化的文化中所发挥的作用
2.7 Ansel Adams. 《新墨西哥州赫尔南德斯的月出 》. 1941 (中文配音)
Loading...
来自 The Museum of Modern Art 的课程
透过摄影看世界
45 个评分
从本节课中
一个主题，很多视角
通过观察摄影在历史上以各种不同的方式被用来捕捉大家熟悉的一个主题，发现这种媒介在艺术和科学领域的根源。
与讲师见面
Sarah MeisterCurator
Department of Photography
We're looking at a picture by Ansel Adams that he called Moonrise Hernandez,
New Mexico, and he very dramatically and
specifically described coming upon this scene.
He saw the moon emerging above the clouds, he set up his camera, he waited for it.
And according to Adams, he couldn't find his light meter at
the moment at which he needed to make the exposure.
But knowing what he did about the light of the moon and
knowing how he could compensate in the development process for
any problems in the negative, he exposed it a certain way.
Trying to make sure that not only do you see the moon as a little white dot, but
that you can actually see the surface of the moon.
And the large negative that he was printing
really allowed him to hold this detail in his perfectly exposed negative.
It is also a really nice banded composition in that you have the darkness
of the sky sort of unfolding into the lightness of the clouds and
then rolling toward the viewer with this kind of barren tundra in the foreground.
Compositionally, it's very static, it's very serene.
And your eye is drawn toward the greatest anomaly in the picture,
which is the moon in the sky.
And you see in perfect balance the moon, and the graveyard, and
the buildings, and the mountains, and the clouds.
And I think it's what gives this picture its magic, its chemistry,
is that balance between all those elements.
MoMA owns not one, but three prints made from this negative.
And we can date them with certainty, which is a really
valuable thing to be able to do as you trace an artist's engagement or
interpretation from the negative they made.
Ansel Adams made this picture in 1941, and
the first print that the museum acquired came into the collection in 1943.
You're struck by this incredibly delicate balance between sky and Earth.
And the moon, while it's totally luminous, it's no more luminous than
the crosses in the foreground and there aren't extreme blacks or bright whites.
But within this middle area of the tonal range,
you still get this electric feeling that I think probably
captured the way Adams felt about this scene when he happened upon it.
The museum also owns a print that came into the collection in 1953, so
one decade later.
And in that, you see that Adams begins to ramp up the contrast a little bit.
So the sky becomes a little darker and the contrast between the moon and
the sky becomes greater.
And we own a third print that entered the collection in 1964,
so again, one decade later.
And as you look at this progression of images,
you're reminded of how the negative for a photographer is really only the score.
It's comparable to the score for an orchestra.
So it's subject to different interpretations.
And as Adams grew older and as the memory of this scene
became perhaps more faint or more distant in time,
he amped up the volume of his printing style to compensate, to sort of bring
back that feeling of excitement, of electricity that he felt originally.
Adams was a master craftsman, and that sort of virtuosic approach to photography,
to being able to really pull exactly what detail and the perfect balance that
you wanted to find in your print was something that he not only exemplified in
his own work, but that he taught to scores of other photographers as well.
