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
2.8 Eugène Atget. 《日食期》(Pendant l'Eclipse). 1912 (中文配音)
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来自 The Museum of Modern Art 的课程
透过摄影看世界
47 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 photograph by Eugène Atget, one that he called Pendant
l'Eclipse, or During the Eclipse, that he made in April, 1912.
It's of a crowd of people shielding their eyes while
trying to observe the eclipse in the Place de la Bastille in Paris.
Atget was much better known for taking pictures of Paris.
Street scenes often made early in the morning and
his process meant that there are generally very few people in his pictures.
One of the things you could say about Atget's work is that it's quite timeless.
So this one is quite unusual in that there's a whole crowd of people, and
also that it's around a particular event.
This is a picture of a solar eclipse.
So what that means is that the moon is coming between the sun and
the Earth and effectively blocking the sun's light.
And you see the little viewing apparatuses that the people are holding up in
order to see it.
I think it's really interesting to note that this picture was made two days
after the Titanic sunk.
And that sense of foreboding, of mystery, of uncertainty about the future,
about natural phenomenon, whether it be icebergs or eclipses.
I can't help but think that the Titanic would be in the minds of many of
the people gathered in this place looking at the eclipse.
It's important to know that Atget was working with a large view camera
on a tripod.
The negative that Atget used was a glass plate negative.
It was 18 by 24 centimeters, which is about eight by ten inches.
And it has a capacity for holding great detail.
The only downside was that it took a fair amount of time to expose.
So it wasn't ideally suited to making pictures of people.
It was better used, and Atget used it more frequently,
to take pictures of the built environment.
And those plates were less sensitive to blue light
in the early years of photography.
So often what that meant is that the sky would look white
no matter what the weather was or whatever time of day.
The exception to that is of course the top left corner of the image where you see
this dark space encroaching.
And that is due to the alignment, or slight misalignment,
of the lens with the back of the camera, which is called vignetting.
These images aren't cropped at all.
In fact, they are what we call contact prints.
And Atget's way of printing was to
place a piece of photographic paper in contact with these negatives,
squeeze them together, and place it out in the sun so the image would emerge
on the paper through the action of light through the negative.
So, there's a one to one relationship between the size of Atget's negative and
the sizes of all of his prints.
Atget was very clear about why he made photographs.
He had a sign outside his studio that said document pour artiste,
which means documents for artists.
He had a very self-effacing,
straightforward, modest approach to photography.
Now in fact what he made were extraordinary
photographs that really explored the nature of looking through a camera.
This is a picture of an eclipse, which is in a certain way, a picture of the moon.
Although neither the moon nor the sun are anywhere within the frame of the image.
But it's a picture about looking at the moon,
which has been a source of endless fascination, not only for
photographers and astronomers, but also for laypeople on the street.
