Ansel Adams

John Szarkowski , Photographer & Curator: The reason that he is as important to us as I think he is is because he was a good artist, and on his best days he was a terrific artist, and he found some way to put together those little fragments of the world in a way that transformed them into a picture.

约翰·萨科夫斯基（John Szarkowski），摄影师兼策展人：他对我们像我认为的那样重要，因为他是一位优秀的艺术家，在他最好的日子里，他是一位了不起的艺术家，他找到了某种方法将世界的这些小碎片组合在一起，将它们转化为一幅图片。

In the same way that, you know, a poet uses the same dictionaries that the rest of us do.

就像你知道的那样，诗人使用我们其他人使用的词典。

All the words are in there...all the words in the poem are there, they're in alphabetical order so you can find them ...

所有单词都在那里...诗中的所有单词都在那里，它们按字母顺序排列，以便您可以找到它们...

and it's just a matter of taking a few of them and putting them in the right order, and that's all there is to it.

只需取出其中的一些并将它们按正确的顺序排列即可，仅此而已。

And so why is it that some lines of poetry, some sentences grasp us, you know, grip us, and we think, "That's, that's right, that's true, whatever, I don't know quite what that means, but whatever it means it's true." And a good picture does something like that.

那么为什么有些诗行，有些句子抓住了我们，你知道，抓住了我们，我们想，“那是，那是对的，那是真的，无论如何，我不太知道那意味着什么，但无论它意味着什么，它都是真的。”一张好的照片也能起到这样的作用。

...

...

the best of Ansel's ....are part of our memory, part of our sense of what a picture might be made out of, what it might look like and what it might ultimately be about, which is the part we can't explain.

安塞尔最好的……是我们记忆的一部分，是我们对一幅画可能由什么构成、它可能是什么样子以及它最终可能是什么的感觉的一部分，这是我们无法解释的部分。

Narrator: His whole life would be a journey, and an exploration; a search for meaning and order, for beauty and redemption; for contact with something larger and more lasting: for community, connection, and home.

旁白：他的一生就是一次旅行，一次探索；寻找意义和秩序，寻找美丽和救赎；为了与更大、更持久的事物接触：社区、联系和家庭。

Born on the far western edge of the continent in the years following the close of the American frontier, he first encountered the awesome beauty of Yosemite Valley in the summer of 1916.

他出生于美国边境关闭后的几年里，出生在非洲大陆的最西边，1916 年夏天，他第一次见到了优胜美地山谷的壮丽美景。

"From that day," he later wrote, "my life has been colored and modulated by the great earth gesture of the Sierra."

“从那天起，”他后来写道，“我的生活就被山脉伟大的地球姿态所色彩和调节。”

He would spend the rest of his life trying to capture on film the wild majesty of the American continent, and the sublime and humbling exaltation of wilderness.

他将用他的余生试图在电影中捕捉美洲大陆的狂野雄伟，以及荒野的崇高和谦卑的兴奋。

Carl Pope , Sierra Club: It's a place that you step into, and you don't know what's going to happen.

Carl Pope，塞拉俱乐部：这是一个你踏入的地方，你不知道会发生什么。

It's a place that can surprise you.

这是一个能让你惊喜的地方。

It's a place where you're small.

这是一个你还很小的地方。

But where being small is not a bad thing, where being small is actually a wonderful thing.

但小并不是一件坏事，小实际上是一件美妙的事情。

If you look at Ansel's photographs, the photographer wherever he stands, is clearly tiny compared to the detail and the light.

如果你看一下安塞尔的照片，无论摄影师站在哪里，与细节和光线相比，他显然都很渺小。

You have a sense of the entire solar system, the sun is shining in on a church in New Mexico or a peak in the Sierra, and the eye, the camera, is this small part but it's not an insignificant part.

你可以感觉到整个太阳系，阳光照在新墨西哥州的一座教堂或山脉的一座山峰上，眼睛、相机虽然是很小的一部分，但它并不是一个微不足道的部分。

It's the part which gives the whole thing meaning.

这是赋予整个事物意义的部分。

Jonathan Spaulding , Biographer: Well, I think Ansel had a message in his art that was consistent throughout his career.

乔纳森·斯波尔丁，传记作者：嗯，我认为安塞尔在他的艺术中传达了一个贯穿他整个职业生涯的信息。

And this is that the world is beautiful, that humanity is part of this larger world.

这就是世界是美丽的，人类是这个更大世界的一部分。

That the concerns of the moment are part but not separate from a larger system of forces that connect us to all of creation.

当前关注的问题是连接我们与所有造物的更大力量系统的一部分，但并非分开。

Ansel Adams: I can't verbalize the internal meaning of pictures whatsoever.

安塞尔·亚当斯：我无法用语言表达图片的内在含义。

Some of my friends can at very mystical levels, but I prefer to say that, if I feel something strongly, I would make a photograph, that would be the equivalent of what I saw and felt...

我的一些朋友可以达到非常神秘的水平，但我更愿意说，如果我强烈地感受到某些东西，我会拍一张照片，那将相当于我所看到和感受到的......

When I'm ready to make a photograph, I think I quite obviously see in my mind's eye something that is not literally there, in the true meaning of the word.

当我准备好拍摄照片时，我想我很明显地在脑海中看到了一些实际上并不存在的东西，在这个词的真正含义中。

I'm interested in expressing something which is built up from within, rather than just extracted from without.

我感兴趣的是表达从内部构建的东西，而不是从外部提取的东西。

John Szarkowski: When he photographed the wild landscape -- especially in his own special home wild landscape in the High Sierra, and Yosemite -- he felt some consonance with that material that was very profound, very deep, very mystical, perhaps almost religious -- although he would certainly object to that very strongly, because he was not in any conventional sense a religious person -- and then you try to find a way to make a picture that is consonant with your sense of your relationship to that experience.

约翰·萨科夫斯基：当他拍摄野生景观时——尤其是在他自己家乡的高山脉和约塞米蒂国家公园的野生景观中——他感到与那些非常深刻、非常深刻、非常神秘、也许几乎是宗教性的材料有一些共鸣——尽管他肯定会非常强烈地反对这一点，因为他在任何传统意义上都不是一个宗教人士——然后你试图找到一种方法来拍摄一张与你对你与那种经历的关系的感觉相一致的照片。

It's not just a place, it's an experience -- especially in Ansel's case that has to do with that time, that moment, that evanescent disappearing thing.

它不仅仅是一个地方，更是一种体验——尤其是在安塞尔的例子中，它与那个时间、那个时刻、那个转瞬即逝的消失的事物有关。

I don't think Ansel was ever self--consciously concerned with personal expression...It's wanting to join something else...

我不认为安塞尔曾经有意识地关心个人表达……他想加入其他事情……

Ansel, I think, the issue was to understand and become part of something that was larger.

我认为安塞尔的问题在于理解并成为更大事物的一部分。

And to make a picture that demonstrated that there was some, actually some communion...going on.

并制作一张照片来证明有一些，实际上是一些交流......正在进行。

Narrator: For nearly seventy years, he would wander the great unoccupied spaces of the American west -- photographing the landscape as the landscape itself changed all around him, and as the wild places of the continent dwindled and shrank and came under attack as never before.

旁白：近七十年来，他一直在美国西部广阔的无人居住的空间中徘徊，拍摄他周围的风景本身的变化，以及大陆上荒野不断缩小和遭受前所未有的攻击的风景。

More than any other artist of the century, he would help transform the meaning of wilderness in America, and change what people thought and felt about their own land.

他比本世纪任何其他艺术家都更能帮助改变美国荒野的意义，并改变人们对自己土地的看法和感受。

In the course of time, he himself would change -- as the rapturous visions that sustained him in his youth lost their power, and began to fade -- and as he came increasingly to resemble the avuncular, trusted elder statesman of his old age.

随着时间的推移，他本人也会发生变化——年轻时支撑他的狂喜愿景失去了力量，并开始消退——而且他越来越像晚年那位慈祥、值得信赖的元老政治家。

But as a young man, he had seen something in the mountains of the Sierra Nevada -- something that resonated far out into the landscape and down into the deepest recesses of his soul -- that would haunt him for the rest of his days, and that he would spend his entire life trying to convey.

但作为一个年轻人，他在内华达山脉的群山中看到了一些东西——一些与远处的风景产生共鸣并深入到他灵魂最深处的东西——这将困扰他余生，他将用一生的时间试图传达这些东西。

William Turnage , Ansel Adams Trust: I can't think of any artist in our history who was more American than Ansel Adams...He grew up in a city that was only fifty years old....his subject matter was as quintessentially American as it possibly could be.

威廉·特纳奇，安塞尔·亚当斯信托基金：我想不出我们历史上有哪位艺术家比安塞尔·亚当斯更美国化……他在一座只有五十年历史的城市长大……他的题材尽可能地具有典型的美国特色。

The thing that separates us from the Old World, more than anything I think, is that we have all of ...these extraordinary great pieces of wild land which Ansel of course devoted much of his life's energy to saving.

我们与旧世界的区别，比我想象的更重要的是，我们拥有所有这些非同寻常的大片荒野，安塞尔当然投入了他一生的大部分精力来拯救它们。

So his cause was American.

所以他的事业是美国的。

His work was about America...

他的作品是关于美国的...

Andrea Gray Stillman , Editor & Assistant to Ansel Adams: He was odd.

安德里亚·格雷·斯蒂尔曼（Andrea Gray Stillman），安塞尔·亚当斯的编辑兼助理：他很奇怪。

Yes, he was odd.

是的，他很奇怪。

The pictures of him as a child, he looks really odd.

他小时候的照片，看起来真的很奇怪。

And he was actually kind of odd--looking when he was a young man, too, in his early twenties.

事实上，他年轻时二十岁出头的时候也长得有点奇怪。

These ears stuck out and his -- because he was balding.

这些耳朵和他的耳朵一样突出——因为他秃了。

And then he did have false teeth and I mean by the time I knew him he had a pretty good set, but I think it took a while to get a good set of false teeth.

然后他确实有假牙，我的意思是，当我认识他时，他已经有了一副相当好的假牙，但我认为花了一段时间才得到一副好的假牙。

And he -- even he was gangly and -- and extremely, extremely thin.

而他——即使他身材瘦长——而且非常非常瘦。

And then he had this black beard.

然后他留着黑胡子。

The pictures of him from the early Sierra Club hikes, he almost looks kind of scary in some of them, but he also had this joie de vivre , and this sense of enthusiasm and humor that just swept people off their feet -- well, either you loved it or you hated it.

他早期塞拉俱乐部徒步旅行的照片，其中一些看起来有点吓人，但他也有这种生活乐趣，这种热情和幽默感让人们神魂颠倒——好吧，要么你喜欢它，要么你讨厌它。

Narrator: He was born Ansel Easton Adams in the city of San Francisco in the winter of 1902 -- the only child of a once prosperous family on its way down in the world.

旁白：他于 1902 年冬天出生在旧金山市，原名安塞尔·伊斯顿·亚当斯 (Ansel Easton Adams)，是一个曾经繁荣的家庭中唯一的孩子，现在正走向没落。

His earliest memory was of lying in a pram watching silent fingers of fog flowing east above his family's house -- a lonely structure perched high above the dunes beyond the western edge of town, overlooking the waters of the Golden Gate.

他最早的记忆是躺在婴儿车里，看着自家房子上空无声的雾气向东流动——这座孤独的建筑高高地坐落在城镇西边沙丘之上，俯瞰着金门的水域。

Andrea Gray Stillman: ...He always said he was formed by those early landscape experiences and where he was living...

安德里亚·格雷·斯蒂尔曼：......他总是说他是由那些早期的风景经历和他所居住的地方塑造的......

I mean, once you've lived a while in San Francisco, you can feel ...that fog kind of tiptoeing in, where it changes the sounds and kind of gets in to your bones.

我的意思是，一旦你在旧金山住了一段时间，你就会感觉到……雾气悄悄地进来，它改变了声音，并进入了你的骨头。

Or when there's a glorious clear day...it's just breathtakingly beautiful.

或者当天气晴朗的时候……真是美得令人窒息。

And that was just part and parcel of Ansel.

这只是安塞尔的一部分。

Narrator: On the morning of April 18th, 1906, when he was a little more than four, an immense aftershock of the great San Francisco earthquake sent him flying head--first into a low garden wall, severely breaking his nose -- which forever after veered violently to the left.

旁白：1906 年 4 月 18 日早晨，当他四岁多一点时，旧金山大地震的一场巨大余震使他头朝下飞了起来——首先撞到了花园的低墙，严重折断了他的鼻子——此后鼻子猛烈地向左倾斜。

One year later, the fortune in timber his grandfather had assembled in the years following the Gold Rush finished collapsing completely in the Panic of 1907 -- plunging his father into a sea of financial difficulties, and his mother into a depression from which she never fully recovered.

一年后，他的祖父在淘金热后几年积累的木材财富在 1907 年的恐慌中彻底崩溃——使他的父亲陷入了经济困难的深渊，而他的母亲也陷入了从未完全恢复的萧条之中。

William Turnage: At the end of the day, by the time his grandfather died in 1907, the family was pretty flat busted, and that deeply affected the relationship between Ansel's parents and created a lot of stress in the home while Ansel was growing up....

William Turnage：归根结底，当他的祖父于 1907 年去世时，家庭已经陷入了困境，这深深地影响了 Ansel 父母之间的关系，并在 Ansel 的成长过程中给家里带来了很大的压力......

Narrator: He was a lonely child, in the gloomy, troubled house by the sea -- often ill, prone to fits of uncontrollable weeping, and filled with a restless surging energy he could not contain.

旁白：他是一个孤独的孩子，在阴暗、动荡的海边房子里，经常生病，容易失控地哭泣，内心充满了无法抑制的躁动澎湃的能量。

Enrolled without success in one school after another, he often found it difficult even to remain seated at his desk.

他在一所又一所学校都没有成功入学，常常发现甚至坐在办公桌前都很难。

John Szarkowski: In Ansel's autobiography he makes it very clear that he was not an altogether ordinary child.

约翰·萨科夫斯基：在安塞尔的自传中，他非常清楚地表明他不是一个完全普通的孩子。

Certainly my impression is that he was a very nervous child.

当然，我的印象是他是一个非常紧张的孩子。

And that relationships with other people were not easy for him.

与其他人的关系对他来说并不容易。

Jonathan Spaulding: He was probably a very difficult kid to live with, and I think he drove his parents crazy.

乔纳森·斯波尔丁：他可能是一个很难相处的孩子，我认为他让他的父母发疯了。

He was very full of energy and full of vitality and tremendous drive -- but it was scattered, it was all over the place...

他精力充沛、充满活力和巨大的干劲——但它是分散的，它到处都是……

William Turnage: I think, almost certainly, if it were today, he'd be considered to have been dyslexic...He said himself, you know, "Today, I'd be considered a hyperactive child." There was this incredible chaos or fire or energy or something roaring around inside and, all the time trying to get out...

威廉·特纳奇：我想，几乎可以肯定，如果是在今天，他会被认为患有阅读障碍……他自己说，“今天，我会被认为是一个多动的孩子。”里面有一种令人难以置信的混乱，或者火焰，或者能量，或者什么东西在里面咆哮，并且一直试图出去……

Narrator: Abandoning the idea of conventional schooling when the boy was only twelve, his gentle, courtly father, Charles, poured all the love and energy he had into his difficult only son: arranging private tuition in algebra and Greek, and letting him roam for hours along the dunes and cliffs beyond the house -- anywhere his boundless energy took him.

旁白：当男孩只有十二岁时，他温柔、彬彬有礼的父亲查尔斯就放弃了传统学校教育的想法，把他所有的爱和精力倾注在他那个难相处的独生子身上：安排私人补习代数和希腊语，让他沿着房子外面的沙丘和悬崖漫步几个小时——无论他无限的精力带他去哪里。

Andrea Gray Stillman: His father just adored him, just adored him.

安德里亚·格雷·斯蒂尔曼：他的父亲非常崇拜他，非常崇拜他。

But Ansel was so odd, but at the same time he was so intelligent, with this zest for life.

但安塞尔很奇怪，但同时他又很聪明，对生活充满热情。

I mean, who wouldn't have been enchanted by this child...

试问，谁能不被这个孩子迷住呢……

William Turnage: He just indulged him to an extraordinary degree.

威廉·特纳奇：他对他的溺爱达到了非同寻常的程度。

He realized he had a very unusual son -- both unusual in the positive sense and unusual in the somewhat negative sense...

他意识到他有一个非常不寻常的儿子——既在积极意义上不寻常，又在消极意义上不寻常......

When Ansel was thirteen, he ...got him a year's pass to the World's Fair, the Panama Pacific Exposition.

当安塞尔十三岁的时候，他……给了他一年的巴拿马太平洋博览会世界博览会的通行证。

And that was a fabulous idea, Ansel went every single day and he learned more there than he ever could have in a year at school...

这是一个绝妙的主意，安塞尔每天都去，他在那里学到的东西比他在学校一年里学到的还要多......

I don't think a lot of fathers then or now would have tolerated Ansel's unique character, and here was a father who not only tolerated it, but nurtured it....

我认为无论是当时还是现在，没有多少父亲能够容忍安塞尔的独特性格，而这位父亲不仅容忍了这种性格，而且还培育了这种性格......

Narrator: One afternoon in the fall of 1914, when he was still only twelve, he began to find a focus for the chaotic feelings that welled up inside him.

旁白：1914年秋天的一个下午，当时他才十二岁，他开始为内心涌动的混乱情绪寻找焦点。

William Turnage: He was one of those geniuses, and sat down at the piano when he was just a kid and within a couple months without a teacher could read music at sight...

威廉·特纳奇：他是那些天才之一，当他还是个孩子的时候，他就坐在钢琴前，几个月内就可以在没有老师的情况下立即阅读乐谱......

The piano was something that he instinctually fell absolutely in love with and yet it was very demanding.

钢琴是他本能地爱上的东西，但要求却很高。

The height of discipline and rigor, practicing scales for hours at a time, hard for any kid to do, but really hard for a kid who's kind of scattered and a little bit hyperactive...But he somehow focused all this chaotic energy and by God he did, I mean he really focused it...

高度的纪律性和严格性，一次练习几个小时的音阶，对任何孩子来说都很难做到，但对于一个有点分散和有点过度活跃的孩子来说真的很难……但他以某种方式集中了所有这些混乱的能量，天哪，他做到了，我的意思是他真的集中了……

Narrator: In the years to come, despite the family's continuing financial troubles -- Ansel's father would do everything he could to nurture the boy's unusual musical gift -- hiring the best instructors he could find, and purchasing on installment a $6000 Mason and Hamlin piano.

旁白：在接下来的几年里，尽管家庭持续陷入经济困境，安塞尔的父亲仍会尽一切努力培养这个男孩不同寻常的音乐天赋，聘请他能找到的最好的教练，并分期付款购买一架价值 6000 美元的梅森和哈姆林钢琴。

William Turnage: Even when Ansel was eighty years old, he lowered his voice and spoke with reverence when he spoke about his father.

威廉·特纳奇：即使安塞尔已经八十多岁了，当他谈到他的父亲时，他仍然压低声音，充满敬意。

And he really understood what his father had done for him....

他也真正理解了父亲为他所做的一切……

Ansel Adams: I often wonder at the strength and courage my father had in taking me out of the traditional school situation and providing me with these extraordinary learning experiences.

安塞尔·亚当斯：我常常想知道父亲有多大的力量和勇气，带领我脱离了传统的学校环境，为我提供了这些非凡的学习经历。

I am certain he established the positive direction of my life that otherwise, could have been confused and chaotic.

我确信他为我的生活确立了积极的方向，否则我的生活可能会感到困惑和混乱。

I trace who I am and the direction of my development to those years of growing up in our house on the dunes -- propelled especially by an internal spark tenderly kept alive and glowing by my father.

我追溯了我是谁以及我的发展方向，追溯到那些在沙丘上的房子里长大的岁月——尤其是受到我父亲温柔地保持活力和发光的内心火花的推动。

Narrator: The world's fair had broadened his horizons; music had opened up a new world of beauty and order.

旁白：世博会开阔了他的视野；音乐开辟了一个美丽而秩序的新世界。

But nothing could have prepared him for the stunning impact of another kind of music -- which he first encountered in the summer of 1916, high in the mountains of the Sierra Nevada.

但他对另一种音乐的惊人影响毫无准备——他第一次接触这种音乐是在 1916 年夏天，在内华达山脉的高山上。

William Turnage: [when he was] [fourteen] His aunt gave him a book to read about Yosemite when he was ill ....by...

威廉·特纳奇：[当他][十四岁]他生病时，他的姨妈给了他一本关于约塞米蒂国家公园的书供他阅读......

the earliest major promoter of Yosemite, J.

优胜美地最早的主要推动者，J.

M.

M。

Hutchings -- and it was a wonderful, romantic book about the Indians and this great Valhalla, this American place, a "throne room of the gods," as it were...And Ansel was swept away by it....

哈钦斯——这是一本精彩而浪漫的书，讲述了印第安人和这个伟大的瓦尔哈拉神殿，这个美国地方，一个“众神的王座室”，可以说……安塞尔被它迷住了……

Narrator: On June 1st, 1916 -- propelled by a ceaseless barrage of youthful pleadings and entreaties -- the family set off for the first time on the two--day journey from San Francisco to Yosemite -- rumbling by train across the shimmering heat of the Central Valley, up through the parched brown foothills of the Sierra until they reached El Portal -- then on by open bus still higher, following the pristine waters of the Merced River ever deeper into the mountains -- until at length the river angled sharply to the east, and "the splendor of Yosemite," Adams later wrote, "burst upon us."

旁白：1916 年 6 月 1 日，在年轻人不断的恳求和恳求的推动下，一家人第一次出发，踏上从旧金山到优胜美地的为期两天的旅程，乘坐火车轰隆隆地穿过中央山谷，穿过炎热的棕色山麓，到达埃尔波特尔，然后乘坐敞篷巴士继续前进，沿着默塞德河的原始水域深入到美国亚当斯后来写道，“优胜美地的壮丽景色突然降临在我们身上”。

"There was," he said, "light everywhere." "A new era began for me."

“到处都是光，”他说。 “对我来说，一个新时代开始了。”

William Turnage: It was love at first sight...

威廉·特纳奇：这是一见钟情……

I don't think there's any place that hits you in the solar plexis the way the first time you come into Yosemite valley.

我不认为有任何地方会像你第一次进入约塞米蒂山谷时那样让你感到心神不宁。

It's simply overwhelming.

这简直是​​压倒性的。

You're much closer to it, you're much more surrounded by it, than you are in the Tetons or in the North Cascades...

与在提顿山脉或北喀斯喀特山脉相比，你离它更近，你更被它包围......

It's awesome.

太棒了。

And you put all those things together, and Ansel, it changed his life, it completely changed his life.

你把所有这些东西放在一起，安塞尔，这改变了他的生活，彻底改变了他的生活。

And that was it -- bang!

就是这样——砰！

Yosemite became his home place....

优胜美地成了他的家......

Narrator: Shortly after arriving in the valley, his father presented him with a simple, fateful gift: a Kodak No. 1 Box Brownie camera, in its own leather case with a strap.

旁白：到达山谷后不久，他的父亲给了他一份简单但决定命运的礼物：一台柯达 No.1 Box Brownie 相机，装在带有背带的皮套里。

After being shown how the simple apparatus worked, he was off -- racing from one end of the valley to the other, shooting everything he saw -- domes, spires, streams, meadows, waterfalls and cliffs -- endlessly trying, his friend Nancy Newhall later said, "to pour into the magic little box his wonder and his ecstasy.

在向他展示了这个简单设备的工作原理后，他就出发了——从山谷的一端跑到另一端，拍摄他所看到的一切——圆顶、尖塔、溪流、草地、瀑布和悬崖——他的朋友南希·纽霍尔后来说，他不断地尝试着“把他的奇迹和狂喜倒入这个神奇的小盒子里。”

Somehow he must capture this beauty, somehow convey this opening before him of a new heaven and a new earth."

他必须以某种方式捕捉到这种美丽，以某种方式将新天新地的开口传达给他。”

Jonathan Spaulding: I think that what he found was a chance to break out of the bonds, both psychologically and physically, of his childhood...a kind of liberation from his own internal demons, as it were, the family tensions, the kind of cold and foggy environment of San Francisco, and out here was this giant playground.

乔纳森·斯波尔丁：我认为他发现的是一个摆脱童年时期心理和身体束缚的机会……一种从他内心的恶魔中解放出来的机会，可以说是从家庭的紧张关系、旧金山那种寒冷多雾的环境中解放出来的，而这里就是这个巨大的游乐场。

And so I think ...

所以我认为...

here was a chance to create another identity, away from his family, away from these illnesses.

这是一个创造另一个身份的机会，远离他的家人，远离这些疾病。

Narrator: For the next fifty years he would divide his time between San Francisco and Yosemite, the twin poles of exuberantly outgoing yet intensely private personality.

旁白：在接下来的五十年里，他将自己的时间分配在旧金山和优胜美地，这两个极点是性格极其外向但又极其私密的地方。

Jonathan Spaulding: I mean Ansel and San Francisco are inextricably intertwined .

乔纳森·斯波尔丁：我的意思是安塞尔和旧金山有着千丝万缕的联系。

And he lived in San Francisco for sixty years and participated very, very deeply in the life of the city.

他在旧金山生活了六十年，非常非常深入地参与了这座城市的生活。

But San Francisco was his bride, Yosemite certainly was his mistress.

但旧金山是他的新娘，优胜美地当然是他的情妇。

It was a duality all of his life.

他的一生都是双重性的。

Its hard to imagine an Ansel Adams without Yosemite and I think for most Americans it is hard to imagine a Yosemite without Ansel Adams.

很难想象没有优胜美地的安塞尔·亚当斯，我认为对于大多数美国人来说，很难想象没有安塞尔·亚当斯的优胜美地。

John Szarkowski: I think what artists are after is an object that seems to confirm that their understanding, their experience of the world, is not just a personal opinion.

约翰·萨科夫斯基：我认为艺术家所追求的是一个物体，它似乎能证实他们对世界的理解和体验，而不仅仅是个人观点。

I mean, that they really do have some objective relationship to their intuitions....

我的意思是，他们确实与他们的直觉有一些客观的关系......

and that their intuitions are not made up -- that there really is a world out there that we really can, on some level, understand -- in spite of the fact that on the surface it seems so constantly chaotic, and full of meaninglessness, and unpredictability.

他们的直觉并不是虚构的——确实存在一个我们在某种程度上确实可以理解的世界——尽管事实上，从表面上看，这个世界似乎一直是混乱的，充满了无意义和不可预测性。

So we try to make of our experience something that's outside of ourselves, and that exists outside of ourselves, that has an objective life....

因此，我们试图将我们的经验变成我们之外的东西，存在于我们之外的东西，具有客观的生命……

Narrator: In the years to come, music and the mountains would become his twin obsessions.

旁白：在未来的岁月里，音乐和山脉将成为他的两大痴迷。

Each fall, back in San Francisco, he threw himself into the study of the piano -- often practicing more than six hours a day.

每年秋天，回到旧金山后，他都全身心投入钢琴的学习——经常每天练习六个多小时。

Each summer, he made his way back up to Yosemite -- eager to explore the wondrous landscape, and to work on his new hobby.

每年夏天，他都会回到优胜美地——渴望探索这片奇妙的风景，并致力于他的新爱好。

John Szarkowski: Higher the better.

约翰·萨科夫斯基：越高越好。

Higher up in the mountains, the better the work got, it seems to me.

在我看来，山越高，工作就越好。

Narrator: His first photographs were little more than snapshots -- aids to memory.

旁白：他的第一张照片只不过是快照——帮助记忆。

Disappointed that they conveyed so little of what he had seen and felt at the moment of exposure, he set out to learn everything he could about the photographic process -- teaching himself how to develop and print his own negatives, and experimenting with different approaches -- including pictorialism ≠ the painterly, soft--focus style then in vogue, that in the name of art sought to soften and blur the photographic image.

失望的是，它们传达的信息太少了他在曝光时所看到和感受到的东西，他开始学习有关摄影过程的一切知识——自学如何冲洗和打印自己的底片，并尝试不同的方法——包括绘画主义≠当时流行的绘画式、柔焦风格，以艺术的名义试图软化和模糊摄影图像。

Ansel Adams: June 8th, 1920.

安塞尔·亚当斯：1920 年 6 月 8 日。

Dear Father: I am more than ever convinced that the only possible way to interpret the scenes hereabout is through an impressionistic vision.

亲爱的父亲：我比以往任何时候都更加相信，解释这里场景的唯一可能的方法是通过印象派的视觉。

A cold material representation gives one no conception whatever of the great size and distances of these mountains.

冰冷的物质表现让人无法想象这些山脉的大小和距离。

Ansel.

安塞尔.

Narrator: In the summer of 1920 -- determined now to pursue a career as a concert pianist -- he began searching the valley for a summer piano to practice on -- and soon found one, in the studio of a local painter named Harry Best -- whose fair--haired seventeen--year old daughter quickly became another reason for the tall, gangling nineteen--year--old to visit.

旁白：1920 年夏天，他决心追求音乐会钢琴家的职业生涯，开始在山谷中寻找一架夏季钢琴来练习，很快就在当地一位名叫哈利·贝斯特 (Harry Best) 的画家的工作室里找到了一架，他的 17 岁金发女儿很快就成为了这位身材瘦高的 19 岁男孩前来拜访的另一个原因。

Mary Street Alinder , Biographer: On paper, Virginia was the perfect mate...She loved poetry, she was studying to be a classical singer, so she was involved in music and literature, all the things that Ansel cared most deeply about...And she could hike; she could out--hike Ansel, I bet, at that time.

玛丽·街·阿林德（Mary Street Alinder），传记作者：在纸面上，弗吉尼亚是完美的伴侣……她热爱诗歌，她正在学习成为一名古典歌手，所以她参与了音乐和文学，所有安塞尔最关心的事情……而且她可以徒步旅行；我敢打赌，那时她可以出去——徒步旅行安塞尔。

Ann Adams Helms: It was a very long courtship, off again on again.

安·亚当斯·赫尔姆斯：这是一次非常漫长的求爱，断断续续。

Several times Ansel gave up, gave his life to music again, which didn't include getting married, and then they'd get back together again...

有好几次安塞尔放弃了，再次将自己的生命献给了音乐，其中不包括结婚，然后他们又复合了……

Ansel Adams: March 29th, 1923.

安塞尔·亚当斯：1923 年 3 月 29 日。

Dear Virginia.

亲爱的弗吉尼亚。

The desire to get into the mountains has grown very strong in me lately...-- how often I wish that the Valley could be now like it was forty years ago -- a pure wilderness, with only a wagon road through it, and no automobiles nor mobs.

最近，我想要进山的愿望越来越强烈……我常常希望山谷现在能像四十年前那样——一片纯粹的荒野，只有一条马路穿过，没有汽车，也没有暴民。

I long for the high places -- they are so clean and pure and untouched.

我向往高处——它们是那么干净、纯净、没有受到任何影响。

Narrator: Each summer, he ventured farther and farther up into the rugged high country beyond Yosemite Valley -- sometimes on his own, and sometimes with members of the Sierra Club, the wilderness group John Muir had founded thirty years before -- long days of climbing and hiking that began before dawn and often ended well after dark -- making pictures when he could, and wandering, he wrote, in "translucent unity with the world and sky."

旁白：每年夏天，他都会冒险越来越远地深入约塞米蒂山谷之外崎岖的高地——有时独自一人，有时与塞拉俱乐部的成员一起，这个荒野组织是约翰·缪尔在三十年前创立的——漫长的攀登和徒步旅行，从黎明前开始，常常在天黑后结束——只要有时间就拍照，并在“与世界和天空半透明的统一”中漫步，他写道。

Late one morning in the summer of 1923, wandering amidst the harsh and bleakly beautiful high country east of the valley, he came as close as he ever would to capturing in words the soaring emotions that sometimes came over him in the high mountains.

1923 年夏的一个清晨，他漫步在山谷东边严酷而荒凉而美丽的高地，几乎用语言捕捉到了在高山时有时会涌上心头的汹涌情感。

Ansel Adams: I was climbing the long ridge west of Mount Clark.

安塞尔·亚当斯：我正在攀登克拉克山以西的长山脊。

It was one of those mornings where the sunlight is burnished with a keen wind and long feathers of cloud move in a lofty sky.

那是一个早晨，阳光明媚，微风凛冽，长长的云羽在高高的天空中飘动。

The silver light turned every blade of grass and every particle of sand into a luminous metallic splendor; there was nothing, however small, that did not clash in the bright wind, that did not send arrows of light through the glassy air.

银光将每一片草叶、每一粒沙子都变成了闪闪发光的金属光辉。一切，无论多么小，都会在明亮的风中碰撞，不会在玻璃般的空气中射出光箭。

I was suddenly arrested in the long crunching path up the ridge by an exceedingly pointed awareness of the light .

在爬上山脊的那条嘎吱作响的长路中，我突然被一种极其尖锐的光线所吸引。

The moment I paused, the full impact of the mood was upon me; I saw more clearly than I have ever seen before or since the minute detail of the grasses ...the small flotsam of the forest, the motion of the high clouds streaming above the peaks...

当我停下来的那一刻，我的心情就受到了全面的冲击。我比以往任何时候都看得更清楚，草丛的微小细节……森林的小碎片，山峰上方流过的高云的运动……

I dreamed that for a moment time stood quietly, and the vision became but the shadow of an infinitely greater world -- and I had within the grasp of consciousness a transcendental experience.

我梦见时间静止了一会儿，眼前的景象变成了一个无限广阔的世界的影子——而我的意识掌握了一种超然的体验。

Narrator: He would spend the rest of his life trying to capture on film the quicksilver light he saw that morning -- and the sense it conveyed of a deeper truth and meaning.

旁白：他将用余生来尝试用胶片捕捉那天早上他看到的水银光芒，以及它所传达的更深层次的真理和意义。

John Szarkowski: I think one could risk saying that, in a broad way, it's a quasi--religious sense of identification with the landscape.

约翰·萨科夫斯基：我认为人们可以大胆地说，从广义上讲，这是一种对景观的准宗教认同感。

The quality of the experience, I think, one might call "ecstatic." You know, Bernini's Saint Theresa -- the same kind of nervous, insubstantiality...

我想，这种体验的质量可以称之为“欣喜若狂”。你知道，贝尔尼尼的圣特蕾莎——同样的紧张、虚幻……

this flickering, flame--like ...

这闪烁的、火焰般的……

ecstatic quality.

欣喜若狂的品质。

Ecstasy.

狂喜。

I mean ...it's outside yourself.

我的意思是……这是在你自己之外。

It's an experience of, I mean, I think one might actually for a change really use the word "epiphany," without forcing it too much...

我的意思是，这是一种体验，我认为人们实际上可能为了改变而真正使用“顿悟”这个词，而不用强迫它太多......

Narrator: For seven more years, he would continue to struggle to define himself as an artist -- still convinced that music was the higher art form, but increasingly torn between music and photography, San Francisco and Yosemite.

旁白：在接下来的七年里，他继续努力将自己定义为一名艺术家——仍然坚信音乐是更高的艺术形式，但在音乐和摄影、旧金山和优胜美地之间越来越矛盾。

In the fall of 1925, in a painful, soul--searching letter to Virginia, he broke off their engagement, certain that marriage and music were incompatible.

1925 年秋天，在一封写给弗吉尼亚的痛苦而深刻的信中，他解除了他们的婚约，因为他确信婚姻和音乐是不相容的。

She bore up as well as she could for eighteen months, until in the late winter of 1927 another letter arrived -- signaling a radical change in mood.

她在十八个月的时间里竭力忍耐，直到 1927 年冬末收到另一封信，标志着她的情绪发生了根本性的变化。

Ansel Adams: Dear Virginia.

安塞尔·亚当斯：亲爱的弗吉尼亚。

If you only knew the yearning to get into the mountains that fills me these days!

如果你知道这些天我内心充满了进入山里的渴望就好了！

Music is wonderful -- but the musical world is bunk!

音乐是美妙的——但音乐世界是骗人的！

So much petty doings -- so much pose and insincerity and distorted values...I find myself looking back on the Golden Days in Yosemite with supreme envy.

这么多琐碎的事情——这么多的故作姿态、不真诚和扭曲的价值观……我发现自己怀着无比的羡慕回顾在优胜美地的黄金岁月。

I think I came closer to really living then than at any other time of my life, because I was closer to elemental things.

我认为那时我比生命中的任何其他时候都更接近真正的生活，因为我更接近基本的事物。

I love you immensely at this moment -- and will be so glad to see you again.

此时此刻我非常爱你——并且很高兴再次见到你。

I am coming to Yosemite sometime in the Spring -- or bust!

我会在春天的某个时候来优胜美地——或者半身像！

Ansel

安塞尔

Narrator: They were married nine months later, in the parlor of Virginia's father's house in Yosemite -- the bride in black, the groom in a tie, plus fours and tennis shoes.

旁白：九个月后，他们在约塞米蒂弗吉尼亚州父亲家的客厅里结婚了——新娘穿黑衣，新郎打领带，穿着四脚裤和网球鞋。

John Szarkowski: It would have been difficult for Ansel to spend his whole life as a professional musician with the constant pressure to deal with an audience, to deal with other people, to deal with other musicians, to deal with that complex social life that a professional social life, that is forced on a musician really.

约翰·萨科夫斯基：对于安塞尔来说，作为一名职业音乐家，他的一生都很难承受与观众打交道、与其他人打交道、与其他音乐家打交道、应对职业社交生活强加给音乐家的复杂社交生活的持续压力。

He had a very gregarious side to him.

他有非常合群的一面。

He loved parties, he loved to be entertaining, he was entertaining.

他喜欢聚会，他喜欢娱乐，他很娱乐。

He was totally at home with a room full of people.

面对满屋子的人，他感到非常自在。

I think he might have been more at home with a room full of people than with one person.

我想他可能更喜欢和一屋子人在一起，而不是和一个人在一起。

There was also a very, very private part to Ansel...

安塞尔还有一个非常非常私密的部分......

he would be a party animal for two weeks, a month, and then he would have to get away....

他会成为派对动物两周、一个月，然后他就不得不离开……

Narrator: In the end, it was Yosemite perhaps, more than anything else, that had brought Adams back to Virginia, and photography -- along with a remarkable transformation that, by the spring of 1927, had begun to take place in his photographic work itself.

旁白：最终，也许是优胜美地比其他任何事情都更能将亚当斯带回弗吉尼亚，并带回摄影——以及到 1927 年春天，他的摄影作品本身开始发生的显着转变。

Within four weeks of his ecstatic letter to Virginia, he had returned to the Valley -- where on a brilliant Sunday afternoon in early April -- high up on the western flank of the great granite face of Half Dome -- he made a series of pivotal photographs; among them one, his friend Nancy Newhall later said, "that even then spoke to beholders like a trumpet" -- as haunting and as crystal clear as his vision on the slopes of Mount Clark four years earlier.

在他给弗吉尼亚写了一封欣喜若狂的信后的四个星期内，他回到了山谷——四月初一个阳光明媚的周日下午——在半圆顶巨大的花岗岩西侧的高处——他拍摄了一系列关键的照片；其中一个，他的朋友南希·纽霍尔后来说，“即使在那时，它也像喇叭一样对旁观者说话”——就像他四年前在克拉克山山坡上看到的那样令人难忘和清晰。

Andrea Gray Stillman: In a day in April he set out to hike up to what's called the Diving Board, a little tiny, tiny ...

安德里亚·格雷·斯蒂尔曼：四月的一天，他出发前往所谓的跳水板，一个很小很小的地方......

point of granite from which you can look up, right up at the sheer face of Half Dome above you...

花岗岩的一个点，从那里你可以抬头看，就在你上方的半圆顶的陡峭表面......

and on the way up, he takes some pictures.

在上去的路上，他拍了一些照片。

He stops and takes a picture out towards Glacier Point and he takes a picture of Virginia and he takes a picture of Mount Clark...and so by the time he gets up to the Diving Board, which is the purpose of this exercise, he only has two glass plates left.

他停下来，朝冰川点拍了一张照片，拍了一张弗吉尼亚的照片，拍了一张克拉克山的照片……所以当他走到跳水板（这就是这次练习的目的）时，他只剩下两块玻璃板了。

And he sets up the camera and he puts the first glass plate -- he removes the slide and he's carefully composed this on the ground glass and he clicks the shutter ...

他架起相机，放上第一块玻璃板——他取下幻灯片，在毛玻璃上仔细构图，然后按下快门……

and he suddenly thinks, "Oh, the picture I just took, when I print it, is not going to translate -- communicate to people what I'm feeling as I stand here."

他突然想，“哦，我刚刚拍的照片，当我打印出来时，无法翻译——向人们传达我站在这里的感受。”

John Szarkowski: He was there, it was the last plate of the day, he'd had a difficult climb, and suddenly it came to him that maybe the idea the sense of what the experience was like would be more faithfully rendered if he put on the heavy red Wratten A filter, which would radically darken the sky and make in fact the sky darker than the face of the cliff...and, by George, it worked.....

John Szarkowski：他在那儿，这是当天的最后一盘，他经历了一次艰难的攀登，突然他想到，如果他戴上厚重的红色 Wratten A 滤镜，也许会更忠实地呈现体验的感觉，这会从根本上使天空变暗，实际上使天空比悬崖表面更暗......而且，乔治，它起作用了......

Andrea Gray Stillman: And it gives you more power and drama and majesty.

安德里亚·格雷·斯蒂尔曼：它给你更多的力量、戏剧性和威严。

It's all the things he's feeling about this incredible granite monolith in front of him...

这就是他对面前这块令人难以置信的花岗岩巨石的感受……

And it's kind of almost scary...

而且这几乎有点可怕......

the picture, there's a sense of terror in the enormity of this slab of granite that the front has come off ....

从这张照片上看，这块巨大的花岗岩板的正面已经脱落，有一种恐怖的感觉……

John Szarkowski: It came to represent a moment when he had made a great leap forward in terms of the notion of previsualizing what the print should look like, and thinking about how to produce his negative in a way that would achieve that previsualized idea....

约翰·萨科夫斯基：这代表了一个时刻，他在预先视觉化印刷品应该是什么样子的概念方面取得了巨大的飞跃，并思考如何以实现预先视觉化的想法的方式制作他的负片......

Narrator: It was a turning point.

旁白：那是一个转折点。

For the first time, he later said, he had found a way to make a mountain "look how it feels -- a huge monumental thing." Two weeks later, he wrote Virginia.

他后来说，这是他第一次找到一种方法让一座山“看起来像它的感觉——一座巨大的纪念碑。”两周后，他写信给弗吉尼亚。

"My photographs have now reached the stage when they are worthy of the world's attention." That fall, his first portfolio of photographs was published in San Francisco -- thanks to the generosity of a dapper, bay area insurance magnate and art patron named Albert Bender.

“我的照片现在已经到了值得全世界关注的阶段了。”那年秋天，他的第一套摄影作品集在旧金山出版，这要归功于湾区保险巨头兼艺术赞助人阿尔伯特·本德 (Albert Bender) 的慷慨资助。

Not long after his wedding that winter a notice appeared for the first time in a local paper -- advertising his services as a commercial photographer.

那年冬天他结婚后不久，当地一家报纸首次刊登了一则公告——宣传他作为商业摄影师的服务。

By 1930, he and Virginia had settled into a new house and studio -- right next door to Ansel's parents in San Francisco -- where he threw himself headlong into his career as a photographer.

1930 年，他和 Virginia 搬进了新房子和工作室——就在旧金山安塞尔父母的隔壁——在那里他一头扎进了摄影师的职业生涯。

Jonathan Spaulding: Well, I think Ansel and Virginia were as good a match as Ansel could have hoped to find -- and the fact that the relationship was not perfect was more Ansel's fault than hers.

乔纳森·斯波尔丁：嗯，我认为安塞尔和维吉尼亚是安塞尔所希望的完美匹配——事实上，这种关系并不完美，更多的是安塞尔的错，而不是她的错。

He was, like many artists, very absorbed in his work and in his own quest for greatness.

和许多艺术家一样，他非常专注于自己的工作和对伟大的追求。

And she had to deal with that.

她必须处理这个问题。

And I think she dealt with it very well...

而且我认为她处理得很好......

Mary Street Alinder: In fact, when she [gave birth to] their first child, Ansel was not there.

玛丽街阿林德：事实上，当她[生]他们的第一个孩子时，安塞尔并不在场。

Ansel was out hiking in the Sierra when Michael was born.

迈克尔出生时，安塞尔正在山脉徒步旅行。

And when she gave birth two years later to their second child, Anne, in 1935, Ansel was not there.

两年后，1935 年，当她生下他们的第二个孩子安妮时，安塞尔并不在场。

Virginia was in San Francisco, Ansel was in Yosemite, on a commercial job.

弗吉尼亚在旧金山，安塞尔在优胜美地从事商业工作。

Michael Adams: She was sort of the unsung hero.

迈克尔·亚当斯：她是一位无名英雄。

My mom had the business in Yosemite, she inherited it from her father after he passed away in the thirties.

我妈妈在优胜美地有生意，她从她父亲三十年代去世后继承了它。

[And that].

[还有那个]。

enabled them to live and Ansel to have more time to do the [creative work].

让他们能够生活，让安塞尔有更多的时间来做[创造性的工作]。

Commercial jobs were very important but her support financially allowed him to do a lot of things that he might not otherwise have been doing.

商业工作非常重要，但她在经济上的支持使他能够做很多原本他可能不会做的事情。

Narrator: The next five years would prove to be the most crucial and formative period of his entire career.

旁白：接下来的五年将被证明是他整个职业生涯中最关键和最重要的时期。

William Turnage: In 1930, he was barely a real photographer, or a full--time photographer, or a recognized photographer, and five years, six years later he was one of the better known serious photographers in the United States.

威廉·特纳奇：1930 年，他还算不上是一名真正的摄影师，或者是一名全职摄影师，或者是一名公认的摄影师，但五年、六年后，他已成为美国最知名的严肃摄影师之一。

Now it was a small community in those days, but there was this sort of meteoric recognition.

那时它只是一个小社区，但却得到了如此迅速的认可。

Narrator: Adams' breakthrough on the face of Half Dome was only the first in a series of stunning revelations -- that in the years to come would transform his sense of the poetic power of photography.

旁白：亚当斯在半圆顶上的突破只是一系列令人惊叹的启示中的第一个——在未来的岁月里，这将改变他对摄影诗意力量的认识。

In the summer of 1930, on a trip to New Mexico, the photographer Paul Strand showed him a set of his own recently exposed images.

1930 年夏天，在前往新墨西哥州的旅途中，摄影师保罗·斯特兰德向他展示了一组自己最近曝光的照片。

Even in negative form, it was clear they possessed a tonal range of breathtaking beauty and scale -- "full luminous shadows," Adams recalled, "and strong high values, in which subtle passages of tone were preserved."

即使是负片形式，很明显它们也拥有令人惊叹的美丽和规模的色调范围——“完全发光的阴影，”亚当斯回忆道，“和强烈的高价值，其中保留了微妙的色调段落。”

Six months later, in the spring of 1931, he awoke one morning with another dazzling vision.

六个月后，即 1931 年春天，一天早晨，他醒来时看到了另一个令人眼花缭乱的景象。

"Photography," he declared, "is really perception -- the analytic interpretation of things as they are." The medium's true power, he now saw, came not by evading reality but by embracing it.

“摄影，”他宣称，“实际上是感知——对事物本来面目的分析解释。”他现在发现，媒介的真正力量不是来自于逃避现实，而是来自于拥抱现实。

"It was like the Annunciation!" he later said.

“这就像天使报喜！”他后来说。

"Suddenly I saw what photography could be"; "a tremendously potent pure art form"; an austere and blazing poetry of the real.

“突然间我看到了摄影的意义”； “一种极其强大的纯粹艺术形式”；一首朴素而炽热的真实诗篇。

Abandoning pictorialism once and for all -- along with anything else that diminished the brilliance and clarity of his subject matter -- he dedicated himself to the principles of pure photography -- striving for the greatest clarity of vision, and the greatest tonal range, and rejecting textured papers for what he called "the simple dignity of the glossy print."

他一劳永逸地放弃了绘画主义——以及其他任何削弱其主题的光彩和清晰度的东西——他致力于纯粹摄影的原则——追求最清晰的视觉和最大的色调范围，并拒绝纹理纸，因为他称之为“光面印刷的简单尊严”。

Nancy Newhall: He set himself problems of extreme depth of focus and of extreme rendition of textures -- and almost fell into the ground glass with excitement...

南希·纽霍尔（Nancy Newhall）：他给自己设定了极端焦深和极端纹理再现的问题——兴奋得差点掉进毛玻璃里……

An old board fence behind a patch of thistles could in sunlight become a brilliant clash of dissonant textures, a rose on driftwood, indoors on a dark day, could glow softly.

一片蓟后面的旧木板栅栏在阳光下可能会变成不和谐纹理的绚丽冲突，浮木上的玫瑰在黑暗的日子里在室内可能会发出柔和的光芒。

The moods of light could be voiced; textures used like different instruments...

光的情绪是可以表达的；像不同乐器一样使用纹理......

Now clouds could float, waterfalls flash, snow hold its hidden light, grasses bend in infinite delicacy under dew.

现在云可以飘浮，瀑布可以闪烁，雪可以隐藏它的光芒，草在露珠下弯曲得无限娇嫩。

Narrator: "Gradually," he said, "my photographs began to mean something in themselves; they became records of experiences as well as of places."

旁白：“渐渐地，”他说，“我的照片本身开始有意义；它们成为经历和地点的记录。”

"It seems to me," his best friend Cedric Wright wrote in the summer of 1932, "that ...your prints have improved like hell [in the last year]." This is the first time they have seemed on a par with your best writing."

“在我看来，”他最好的朋友塞德里克·赖特 (Cedric Wright) 在 1932 年夏天写道，“……你的印刷品[在去年]有了很大的进步。”这是他们第一次与你最好的作品相媲美。”

Six months later, in the winter of 1933, he traveled east to New York for the first time in his life, to meet the great photographer, Alfred Stieglitz.

六个月后，即 1933 年冬天，他生平第一次向东前往纽约，会见了伟大的摄影师阿尔弗雷德·斯蒂格利茨 (Alfred Stieglitz)。

In the stillness of his gallery on Madison Avenue, the uncompromising old master silently perused the portfolio of prints Adams had brought with him -- not once but twice, without uttering a word -- then carefully closed and retied it with a bow.

在麦迪逊大道上寂静的画廊里，这位毫不妥协的老大师默默地翻阅着亚当斯带来的那套版画——不是一次而是两次，一言不发——然后小心翼翼地合上，并用弓重新系好。

"These," he said simply, "are some of the finest photographs I have ever seen."

“这些，”他简单地说，“是我见过的一些最好的照片。”

Andrea Gray Stillman: Alfred Stieglitz meant the greatest in art.

安德里亚·格雷·斯蒂尔曼：阿尔弗雷德·施蒂格利茨意味着艺术中最伟大的人。

To be accepted by Alfred Stieglitz was to be accepted as a great artist.

被阿尔弗雷德·施蒂格利茨接受就等于被接受为一位伟大的艺术家。

And that's what Ansel aspired to be.....

这就是安塞尔所渴望成为的......

Narrator: In the end, Adams encounter with Alfred Stieglitz would prove life-changing -- and the final step in his long, painstaking apprenticeship as a photographer.

旁白：最终，亚当斯与阿尔弗雷德·施蒂格利茨的相遇改变了他的生活，也是他作为一名摄影师漫长而艰苦的学徒生涯的最后一步。

"I will always remember, " he wrote the older man in the fall of 1933, "what you said about the quality of tenderness ....

“我会永远记住，”他在 1933 年秋天写给老人的信中，“你所说的关于温柔的品质......

in things of art -- a sort of elastic appropriation of the essence of things into the essence of yourself -- [a] ...

在艺术事物中——一种将事物的本质弹性地运用到你自己的本质中——[a]……

giving of yourself without asking too many intellectual questions, to the resultant combination of essences."

在不问太多智力问题的情况下奉献自己，从而获得本质的组合。”

Ansel Adams: As with all art, the photographer's objective is not the duplication of visual reality....

安塞尔·亚当斯：与所有艺术一样，摄影师的目标不是视觉现实的复制......

Photography is an investigation of both the outer and the inner worlds....

摄影是对外部世界和内心世界的探索......

The first experiences with the camera involve looking at the world beyond the lens, trusting the instrument will 'capture' something 'seen.' The terms shoot and take are not accidental; they represent an attitude of conquest and appropriation.

使用相机的第一次体验包括观察镜头之外的世界，相信仪器会“捕捉”“看到”的东西。 “拍摄”和“拍摄”这两个词并非偶然出现。它们代表了一种征服和占有的态度。

Only when the photographer grows into perception and creative impulse does the term make define a condition of empathy between the external and the internal events.

只有当摄影师成长为感知和创作冲动时，这个术语才能定义外部事件和内部事件之间的移情条件。

[Alfred] Stieglitz told me: 'When I make a photograph, I make love.'

[阿尔弗雷德]斯蒂格利茨告诉我：“当我拍照片时，我就在做爱。”

Narrator: The landscape photographs he now began to create were unlike any that had ever been made before.

旁白：他现在开始创作的风景照片与以前拍摄的任何照片都不同。

John Szarkowski: Those pictures looked unlike other pictures...If you wanted to try to define the content of it, I think you'd have to say it has to do with his appreciation of the landscape as something that's not permanent but evanescent -- always, always in the process of becoming something else...

约翰·萨科夫斯基：那些照片看起来不像其他照片……如果你想尝试定义它的内容，我想你不得不说这与他对风景的欣赏有关，风景不是永恒的而是转瞬即逝的——总是、总是在变成其他东西的过程中……

Ansel's landscapes -- more surely more than any of the great 19th century photographers who worked over much of the same territory, are much less about sculpture, they're less about geology, they're less about permanence, they're less about the solidity of the rocks, than about the ephemeral nature of the rocks.

安塞尔的风景画——更肯定的是，比在同一片土地上工作过的任何一位伟大的 19 世纪摄影师更关注雕塑、地质学、永恒性、岩石的坚固性，而不是岩石的短暂性。

That they're always something defined by the transient quality of the light, by the weather...

它们总是由光线的瞬态质量、天气来定义……

Ansel's technique was designed to solve the very difficult problem that his sensibility required.

安塞尔的技术旨在解决他的敏感性所需的非常困难的问题。

If you're going to photograph the mountain as weather, as opposed to geology, you've got to have a better technique.

如果你想把这座山作为天气而不是地质来拍摄，你就必须有更好的技术。

In Ansel's best photographs, you have the sense you could identify the temperature, the relative humidity, the hour of the day, the day of the month, because that's what they're about.

在安塞尔最好的照片中，你感觉自己可以识别温度、相对湿度、一天中的小时、一个月中的日期，因为这就是它们的意义。

He's not doing this for nothing, he's not doing this to show off, that's the nature of his subject matter,....[which] requires that he be able to describe the quality of the air.

他这样做不是为了无缘无故，他这样做不是为了炫耀，这就是他的主题的本质，……[这]要求他能够描述空气的质量。

There's something in Ansel's work that is almost gothic.

安塞尔的作品中有一些近乎哥特式的东西。

It's this tracery, it's this shimmering tracery...It's not really substantial.

就是这个窗饰，就是这个闪闪发光的窗饰……它并不是很坚固。

It's like a movie screen, mm, flickers like that...

就像电影屏幕一样，嗯，闪烁起来……

It's all this surface ornament, very vital and animistic and never still.

这一切都是表面的装饰，非常有活力和万物有灵，而且永远不会静止。

Shimmering, shaking.

闪烁，颤抖。

John Szarkowski: I've tried to explain to myself why it is that there are so many distinguished photographers who are interested in music....

约翰·萨科夫斯基：我试图向自己解释为什么有这么多杰出的摄影师对音乐感兴趣......

You can make certain parallels between the photographic gray scale and the musical scale, the diatonic chromatic scales, and chord structures.

您可以在摄影灰度级和音阶、全音阶半音阶以及和弦结构之间进行某些相似之处。

Certainly, it was important to Ansel's way of thinking, or perhaps even way of feeling -- he would talk about chords of tone, he insisted that the photograph be, seem to be, tonally complete, tonally fulfilled, resolved, and that it could have no holes in it.

当然，这对安塞尔的思维方式，甚至感觉方式很重要——他会谈论色调和弦，他坚持认为照片是、似乎是、色调完整的、色调满足的、解决的，并且它不能有任何漏洞。

Of course, that's fundamentally the classical idea of fundamental technique -- you're not supposed to look at the piece of paper, you look through it.

当然，这从根本上来说是基本技术的经典理念——你不应该看那张纸，你应该仔细看它。

It's like a window, and anytime there's a hole in that photograph, that makes it turn to paper, it ruins the illusion.

它就像一扇窗户，只要照片上有一个洞，它就会变成纸，就会破坏这种幻觉。

Andrea Gray Stillman: ....

安德里亚·格雷·斯蒂尔曼：……

He used to say, "The piano has eighty-eight keys, and you have to be able to play all of them.

他常说：“钢琴有八十八个键，你必须能够弹奏所有的键。

And the range of white to black is analogous to the eighty-eight keys and you have to be able to play all eighty-eight keys in that palette from white to black." And that's why I believe his photographs are so rich.

白到黑的范围类似于八十八个键，你必须能够演奏那个调色板中从白到黑的所有八十八个键。”这就是为什么我相信他的照片如此丰富。

He was a master at bringing out all those incredible nuances of tone.

他是展现所有令人难以置信的语气细微差别的大师。

Helen LeConte -- who was someone who went travelling with Ansel in the Sierra in the early days, when he was still in his teens...

海伦·勒孔特 (Helen LeConte)——早年与安塞尔 (Ansel) 一起去山脉旅行，当时他还只是十几岁……

so she heard him play at the height of his powers -- and she said, "It had a bell-like quality that lingered afterwards in your ear." And to me, his photographs have the same bell-like quality that he could make on the piano.

所以她听到了他在演奏中发挥出的最大力量——她说：“它有一种像钟声一样的品质，之后会在你的耳边萦绕不去。”对我来说，他的照片具有与他在钢琴上制作的铃声相同的品质。

After you look at an Ansel Adams photograph, you remember it, and it kind of reverberates.

当你看过安塞尔·亚当斯的照片后，你会记住它，并且会产生共鸣。

And Ansel always said, "You can tell if it's a good work of art if you remember it afterwards, if there's like, burned into your brain and you can close your eyes after you see it, is it still with you." And I feel that Ansel's photographs, for me at least, work particularly this way.

安塞尔总是说，“如果你事后记得它，你就能知道它是不是一件好的艺术作品，如果有类似的东西，烙印在你的大脑里，你看到它后闭上眼睛，它是否还在你身边。”我觉得安塞尔的照片，至少对我来说，尤其如此。

And to me, they have the same bell-like quality that his playing had.

对我来说，它们具有与他的演奏相同的铃声般的品质。

And, to me, his best photographs are like his playing on the piano.

对我来说，他最好的照片就像他弹钢琴一样。

They linger in your mind's eye and your ear and they stay with you.

它们萦绕在你的脑海和耳朵里，陪伴着你。

William Turnage: ...I never met anyone...who worked as hard as he did.

威廉·特纳奇：……我从未见过任何人……像他一样努力工作。

Never took a day off.

从来没有休息过一天。

Never took a vacation, ever.

从来没有休假过，从来没有。

He simply worked seven days a week, every day of the year, every year, even when he was eighty, he was still doing that.

他只是每周工作7天，一年中的每一天，每年，即使到了八十岁，他仍然这样做。

The only time he would take a day off is if he was recovering from a hangover and then that was not infrequent...[But] his own career was really precarious economically.

他唯一会休息一天的时候是在宿醉恢复期间，这种情况并不少见……[但是]他自己的职业生涯在经济上确实不稳定。

One of the reasons he worked so hard was to make a living and it was difficult to make a living as a photographer in those days.

他如此努力工作的原因之一是为了生计，而那个时候当摄影师是很难谋生的。

There was the Depression, it wasn't a profession that was particularly well established...

当时正值大萧条，这并不是一个特别成熟的职业……

He really struggled to pay the rent and to make ends meet, literally, I mean, you know, he couldn't go on a trip to take photographs somewhere cause he didn't have $100 to pay the costs, all his life...

他真的很难支付房租和维持收支平衡，从字面上看，我的意思是，你知道，他一生都无法去某个地方拍照，因为他没有 100 美元来支付费用......

Jonathan Spaulding: Well, Ansel had just begun to mature as an artist when the Great Depression struck.

乔纳森·斯波尔丁：大萧条来袭时，安塞尔作为一名艺术家刚刚开始成熟。

He was achieving recognition, some degree of success, at a time when a lot of the foundations of the style he had developed were being questioned ...[as] the impact of the Depression ...caused...artists ...around the world ....to reassess the motivations for their work.

他获得了认可，取得了一定程度的成功，与此同时，他所发展的风格的许多基础都受到质疑……大萧条的影响……导致……世界各地的……艺术家重新评估他们的工作动机。

What am I doing, why am I doing it?

我在做什么，我为什么这么做？

Why, what's the point of making beautiful pictures at a time of national -- international -- catastrophe?

为什么，在国家——国际——灾难时期拍摄美丽的照片有什么意义呢？

William Turnage: Well, he and Edward Weston ...were both criticized because they weren't photographing the social crisis of the 1930s, and Cartier-Bresson said that, "The world is going to pieces and Adams and Weston are photographing rocks and trees...." And Ansel was very stung by this criticism...he believed that photography should be, his photography was about art....he felt that documentary photography, unless it was practiced at an extremely high level was propaganda and he wasn't interested in that.

威廉·特纳奇：嗯，他和爱德华·韦斯顿……都受到批评，因为他们没有拍摄 1930 年代的社会危机，卡地亚-布列松说，“世界正在分崩离析，亚当斯和韦斯顿正在拍摄岩石和树木……”安塞尔对这种批评感到非常刺痛……他认为摄影应该如此，他的摄影是关于艺术的……他认为纪实摄影，除非在极高的水平上实践，否则就是宣传，他对此不感兴趣。

He wasn't trying to send a message...

他并不是想发消息……

Now, first of all, at that point, people didn't think the environment was a terribly important issue.

现在，首先，在那个时候，人们并不认为环境是一个非常重要的问题。

They thought unemployment and dust bowl and hunger and social injustice were the issues.

他们认为失业、沙尘暴、饥饿和社会不公正才是问题所在。

Now, ironically, it turns out that one of the great social human issues of the twentieth century has certainly been the environment.

现在，具有讽刺意味的是，事实证明二十世纪最大的人类社会问题之一无疑是环境。

And Ansel was way ahead of the curve on understanding that.

安塞尔在理解这一点上遥遥领先。

Jonathan Spaulding: ...It's not that the thirties ...and that criticism ...

乔纳森·斯波尔丁：……这不是三十年代……以及批评……

didn't affect him; it's that it didn't affect him in the standard way.

没有影响到他；而是它并没有以标准方式影响他。

He wanted to be politically active as well, he wanted his art to have a commitment and a sense of purpose beyond creating beautiful objects...

他也想在政治上积极活跃，他希望他的艺术除了创造美丽的物品之外还有一种承诺和使命感……

But his sense of what was important was not the breadlines or the war time issues; he wanted people to understand the deeper time of creation, the great forces of nature and of creation that go on despite the permutations of today.

但他认为重要的不是排队领取救济食物的队伍或战争时期的问题，而是重要的问题。他希望人们能够理解更深层的创造时代，以及尽管今天发生了变化，自然和创造的巨大力量仍在继续。

And he thought that this was the fundamental message that people needed to understand, that the world exists within this larger world.

他认为这是人们需要理解的基本信息，即世界存在于这个更大的世界中。

Ansel Adams: There is a deeper thing to express -- the return of humanity to some sort of balanced awareness of the natural things -- some rocks and sky.

安塞尔·亚当斯：有一个更深层次的东西需要表达——人类对自然事物——一些岩石和天空——的某种平衡意识的回归。

We need a little earth to stand on and feel run through our fingers.

我们需要一点泥土来站立并感受从手指间流过的感觉。

Perhaps Photography can do this -- I am going to try anyhow.

也许摄影可以做到这一点——无论如何我都会尝试一下。

Jonathan Spaulding: ...That was really the motivation that made him turn towards this activism ...that ...came out right in the thirties when he started to lobby in Washington.

乔纳森·斯波尔丁：……这确实是让他转向这种激进主义的动机……这种激进主义……出现在三十年代，当时他开始在华盛顿游说。

He ...became a member of the board of directors of the Sierra Club in 1936, in the depths of the Depression.

1936 年，在大萧条最严重的时期，他成为塞拉俱乐部的董事会成员。

And he sensed that here's a chance for me to be an activist with my art, to say something ...with my photography.

他感觉到我有机会成为我的艺术活动家，用我的摄影说点什么。

Andrea Gray Stillman: ...But I think in Ansel's case you can't disconnect them.

安德里亚·格雷·斯蒂尔曼：……但我认为就安塞尔而言，你无法断开它们的连接。

They are linked.

它们是相连的。

The feeling for the land, and, therefore, environmentalism, is an integral part of the photographs.

对土地的感觉，以及因此而产生的环保主义，是照片中不可或缺的一部分。

And he never set out to take a picture for an environmental purpose....[But he] could go out and take a picture and show you how he felt about this incredible landscape and then it could be used in many different ways.

他从来没有打算为了环保目的拍照……[但他]可以出去拍一张照片，向你展示他对这片令人难以置信的风景的感受，然后它可以以多种不同的方式使用。

But he said it had to come from his soul and his heart and his spirit and it couldn't be imposed from the outside.

但他说这必须来自他的灵魂、他的心灵和他的精神，而不能从外部强加。

But I truly believe that.

但我确实相信这一点。

He was an environmentalist down to his toenails.

他是一位彻头彻尾的环保主义者。

Just every little bit of him was all about the beauty of nature and the need to keep it inviolate for generations to come.

他身上的每一点都与自然之美以及子孙后代保持自然不受侵犯的必要性有关。

Ansel Adams: March 1936.

安塞尔·亚当斯：1936 年 3 月。

As I look back on it now I realise a certain 'unworldly' quality about the point of view that was drilled and dynamited into me.

现在回想起来，我意识到那些被灌输给我的观点具有某种“超凡脱俗”的品质。

I [have] existed only for the quality of art in relation to itself; the production of beauty without other motivation....

我的存在只是为了艺术本身的品质；无需其他动机即可产生美丽......

For quite a few years, [however] I have been fully aware that something was missing -- something of supreme importance.

多年来，[然而]我已经充分意识到缺少了一些东西——一些极其重要的东西。

The 'contact with life' you may call it.

你可以称之为“与生命的接触”。

John Szarkowski: If you read Ansel's autobiography you would think that he never had a dark day in his life, but in fact, I don't think that's true.

约翰·萨科夫斯基：如果你读过安塞尔的自传，你会认为他一生中从未有过黑暗的一天，但事实上，我认为事实并非如此。

And I think he had genuinely difficult times in his life, when he wasn't sure about the work, he wasn't sure about personal relationships, he wasn't sure about his relationship to the larger artistic community....

我认为他一生中确实经历过困难时期，当时他对工作不确定，对个人关系不确定，对自己与更大的艺术界的关系不确定……

William Turnage: Well, Ansel had a sort of manic side, where he would just push himself workwise -- twenty hours a day, or even all night, all day all night for several days to finish an assignment, and in the dark room and out photographing, and back in the dark room, and he would just go until he was shot.

威廉·特纳奇：嗯，安塞尔有一种狂躁的一面，他会强迫自己工作——一天二十个小时，甚至整晚，整日整夜，连续几天完成一项任务，在暗室里拍照，然后又回到暗室里，直到他被枪杀。

And then he would shut down.

然后他就会关闭。

Narrator: The most turbulent, intense and harrowing year of Ansel Adams' life began with a stunning triumph.

旁白：安塞尔·亚当斯一生中最动荡、最紧张、最痛苦的一年以惊人的胜利开始。

By the third week of January 1936, he was on his way east again -- bound for Washington -- where he hoped to convince Congress to have the vast Kings Canyon Wilderness, southeast Yosemite, set aside as a national park.

1936 年 1 月的第三周，他再次启程向东——前往华盛顿——在那里，他希望说服国会将优胜美地东南部广阔的国王峡谷荒野划为国家公园。

Along the way, he stopped off in New York, to show Alfred Stieglitz his latest photographic work.

途中，他在纽约停留，向阿尔弗雷德·斯蒂格利茨展示他最新的摄影作品。

He was stunned when the old man offered him a one--man show at his gallery that fall -- the first photographer to be so honored in more than four years.

那年秋天，当老人邀请他在他的画廊举办一场个人展时，他大吃一惊——这是四年多来第一位获得如此殊荣的摄影师。

It was one of the highest points of his entire career.

这是他整个职业生涯的最高点之一。

"Everything seems to come to him who waits," he wrote Virginia.

“一切似乎都会降临到等待的人身上，”他在给弗吉尼亚的信中写道。

Jonathan Spaulding: Here he was in his mid-thirties with now two children, a developing but hardly flourishing career as a photographer, and along comes an opportunity from Alfred Stieglitz to have a one-man show at An American Place , the ultimate venue for any photographer of the day...And he threw himself into this project.

乔纳森·斯波尔丁（Jonathan Spaulding）：当时他三十多岁，现在有两个孩子，作为一名摄影师，他的职业生涯正在发展，但并不繁荣，随之而来的是阿尔弗雷德·斯蒂格利茨（Alfred Stieglitz）的一个机会，可以在美国广场（当今任何摄影师的终极场所）举办一场个人展览……他全身心投入到这个项目中。

Narrator: Back in California -- with not one but three exhibits to prepare for in the fall -- he plunged into a maelstrom of work -- with the assistance of a darkhaired, twenty--two year old one--time model, named Patsy English, whom he had hired to help out with the avalanche of printing.

旁白：回到加利福尼亚后，他在秋天要准备的不是一场展览，而是三场展览，在一位黑发、二十二岁的曾经的模特帕西·英格利希（Patsy English）的帮助下，他投入到了工作的漩涡中，他雇了她来帮助应对雪崩般的印刷工作。

Andrea Gray Stillman: ...the show at the Stieglitz Gallery is in the fall of '36, and all that summer in the High Sierra he's hiking and taking pictures, And when he got back from the summer then he started printing in earnest and ...I think it was white hot in the darkroom.

安德里亚·格雷·斯蒂尔曼：……斯蒂格利茨画廊的展览是在 36 年秋天，整个夏天他都在高山脉徒步旅行和拍照，当他从夏天回来后，他开始认真印刷……我认为暗室里非常热。

And his assistant, Patsy English...

还有他的助手帕齐·英格利希……

said she remembers that he would say, "I've got to make this, it's just got to be fantastic because this is going to be at Stieglitz's gallery." And sometimes he'd show her a print, in the tray, still wet, and he'd say, "What do you think?" And she'd say, "Oh, I think maybe you need to do a little more.

她说她记得他会说，“我必须做这个，它必须很棒，因为这将在斯蒂格利茨的画廊举行。”有时他会给她看托盘里的一张照片，仍然湿漉漉的，然后他会说：“你觉得怎么样？”她会说：“哦，我想也许你需要多做一点。

Is there more?" So he'd keep going.

还有吗？”所以他会继续前进。

And so those prints for the show, it's a body of work that's absolutely incredible.

所以这次展览的印刷品绝对是令人难以置信的作品。

Mary Street Alinder: ...he wasn't sure how much was Stieglitz inspiring him, and how much Patsy was inspiring him, because at the end of the day, he did know whatever it was that these were in his mind the best prints he'd ever made.

玛丽街阿林德：……他不确定斯蒂格利茨对他的启发有多大，帕齐对他的启发有多大，因为到最后，他确实知道，无论是什么，这些在他心目中都是他做过的最好的印刷品。

William Turnage: And at the same time he had the one great love experience of his whole life...He fell deeply in love and had a very intense affair -- although I don't think it was sexual -- ...

威廉·特纳奇：与此同时，他经历了一生中一次伟大的爱情经历……他深深地坠入爱河，并发生了一段非常激烈的恋情——尽管我不认为这是性的——……

with Patsy English ...But it was the absolutely great love of his life....

和帕齐·英格利希……但这绝对是他一生中最伟大的爱情……

Narrator: The prints he made that summer were some of the most inspired and luminous of his career.

旁白：那年夏天他创作的版画是他职业生涯中最具灵感和最耀眼的作品之一。

But week after week the physical and emotional strain of the work, and of his increasingly conflicted feelings for Patsy and Virginia, began to take a toll, until the stress had become all but unbearable.

但一周又一周，工作带来的身体和情感压力，以及他对帕西和弗吉尼亚日益矛盾的感情，开始产生影响，直到压力变得几乎难以忍受。

Jonathan Spaulding: So he pushed on through the summer, working frenetically, and got the show ready, brought it to New York, and it was a great success.

乔纳森·斯波尔丁：所以他整个夏天都在继续努力，疯狂地工作，准备好演出，并将其带到纽约，取得了巨大的成功。

And in the wake of that success Ansel fell apart...

在取得成功之后，安塞尔崩溃了……

The fundamental reason was just pure physical exhaustion.

根本原因只是纯粹的身体疲惫。

He'd been working himself just beyond the breaking point.

他的工作已经快到了极限。

But ...there was a psychological component as well you know.

但是……你知道，还有心理因素。

He was just not able to deal anymore with the complexity of his life....And I think that [he had this] feeling trapped within a whole set of expectations, of responsibilities, of just a set of things that he couldn't deal with, and this was the only way he could escape.

他只是无法再处理生活的复杂性……而且我认为（他）感觉自己被困在一系列的期望、责任、以及一系列他无法处理的事情中，而这是他逃脱的唯一方法。

William Turnage: ...when he couldn't pull it off, when he couldn't go through with, you know, getting a divorce and leaving his family and going off, he had a nervous breakdown, and wound up in the hospital.

威廉·特纳奇：……当他无法成功时，当他无法离婚、离开家人、离开时，他就会精神崩溃，最后进了医院。

And it was sort of like, whop!!!

有点像，哇！！！

, this period of his life, his thirties, his early thirties and the early thirties of the century, kind of came slamming down to an end.

他人生的这段时期，三十多岁，三十出头，三十出头，就这样突然结束了。

Narrator: For eighteen months, he wrestled with depression and a devastating inner emptiness -- struggling to come to terms with what had happened.

旁白：十八个月以来，他一直在与抑郁和毁灭性的内心空虚作斗争——努力接受所发生的事情。

Andrea Gray Stillman: And he finally realizes he can't overturn things, even though he'd like to romantically...

安德里亚·格雷·斯蒂尔曼：他终于意识到他无法推翻事情，尽管他想浪漫地......

And I think it was hard for him, but he could really see that that was __ he had made the right decision...

我认为这对他来说很难，但他真的可以看到那是__他做出了正确的决定......

And he couldn't make the decision to leave, because it wouldn't have been the right thing to do.

他无法做出离开的决定，因为这不是正确的做法。

And so he stayed and you could argue what would have happened if he had left?

所以他留下来了，你可以说如果他离开的话会发生什么？

I can't say.

我不能说。

He stayed and he was proud to have been married for 50 years to Virginia.

他留下来了，并为与弗吉尼亚结婚 50 年而感到自豪。

He was really proud and that his children and his grandchildren and great--grandchildren, it made -- gave him great happiness...

他真的很自豪，他的孩子们、他的孙子们、曾孙们，这让他给了他巨大的幸福……

Mary Street Alinder: She was his ballast, his rock, his anchor...

玛丽街阿林德：她是他的镇流器、他的磐石、他的锚......

He always felt whenever he got east of the Rockies that his life--force was slowly being sapped and taken away...so he would come home depleted, but he would always come home to Virginia, and come home to Yosemite, and he would heal again.

每当他到达落基山脉以东时，他总是感到自己的生命力正在慢慢被消耗和夺走……所以他回家时会筋疲力尽，但他总是会回到弗吉尼亚的家，回到优胜美地的家，他会再次痊愈。

Narrator: Little by little, he began to find his way.

旁白：渐渐地，他开始找到自己的路。

In late December, he wrote Alfred Stieglitz, quoting lines from the poet Robinson Jeffers.

12月底，他引用诗人罗宾逊·杰弗斯的诗句写给阿尔弗雷德·斯蒂格利茨。

"Does it matter whether you hate yourself?

“你讨厌自己有什么关系吗？

At least love your eyes that can see, your mind that can hear the music, the thunder of the wings."

至少爱你能看见的眼睛，你能听到音乐的头脑，爱翅膀的雷鸣。”

When spring came he and Virginia decided to return with the children to Yosemite -- the one place in the world that had always brought him solace, and peace of mind.

春天来临时，他和弗吉尼亚决定带着孩子们回到优胜美地——世界上唯一一个总是给他带来安慰和心灵平静的地方。

On June 10th, 1937, in a letter to his best friend, Cedric Wright, he struggled to put into words what he had come to understand, about the things that mattered most.

1937 年 6 月 10 日，在给他最好的朋友塞德里克·赖特 (Cedric Wright) 的一封信中，他努力用语言表达他所理解的、关于最重要的事情。

Ansel Adams: Dear Cedric.

安塞尔·亚当斯：亲爱的塞德里克。

A strange thing happened to me today.

今天我发生了一件奇怪的事情。

I saw a big thundercloud move down over Half Dome, and it was so big and clear and brilliant that it made me see many things that were drifting around inside of me; things that relate to those who are loved and those who are real friends.

我看到一片巨大的雷雨云从半圆顶上空飘下来，它是如此之大、如此清晰、如此辉煌，让我看到了许多在我体内飘荡的东西；与所爱的人和真正的朋友有关的事情。

For the first time I know what love is; what friends are; and what art should be.

我第一次知道什么是爱；什么是朋友；以及艺术应该是什么。

Love is a seeking for a way of life; the way that cannot be followed alone; the resonance of all spiritual and physical things...Friendship is another form of love -- more passive perhaps, but full of the transmitting and acceptances of things like thunderclouds and grass and the clean granite of reality.

爱是对一种生活方式的追求；无法独自遵循的道路；所有精神和物质事物的共鸣……友谊是爱的另一种形式——也许更被动，但充满了雷云、青草和现实的干净花岗岩等事物的传递和接受。

Art is both love and friendship and understanding: the desire to give.

艺术既是爱，也是友谊和理解：给予的渴望。

It is not charity, which is the giving of things.

这不是施舍，而是给予东西。

It is more than kindness, which is the giving of self.

它不仅仅是仁慈，更是自我的奉献。

It is both the taking and giving of beauty, the turning out to the light of the inner folds of the awareness of the spirit.

它既是对美的获取和给予，也是对精神意识内在褶皱的光的显现。

It is a recreation on another plane of the realities of the world; the tragic and wonderful realities of earth and men, and of all the interrelations of these.

这是对世界现实的另一个层面的娱乐。地球和人类的悲惨而奇妙的现实，以及它们之间的所有相互关系。

Ansel.

安塞尔.

Jonathan Spaulding: And from that Yosemite foundation which had been the foundation throughout his life, that sort of psychological sense of home in Yosemite...he came back to life.

乔纳森·斯波尔丁（Jonathan Spaulding）：从优胜美地的基础（这是他一生的基础）开始，优胜美地的那种心理上的家感……他又复活了。

Back in Yosemite, with new, interesting prospects coming in from New York, from the Sierra Club, from just the sense that, "Well, I can start again."

回到优胜美地，来自纽约、塞拉俱乐部的新的、有趣的潜在客户从“好吧，我可以重新开始”的感觉而来。

Narrator: In the end, work and the mountains saved him.

旁白：最后，工作和大山救了他。

He was still struggling to find his way in the spring of 1937, when a wealthy businessman named Walter Starr, asked him to take on a special project -- a book of photographs, that he hoped would serve as a memorial to his young son, Peter, who had died in a fall while climbing alone in the Amidst the craggy spires of the Minarets.

1937 年春天，他仍在努力寻找自己的出路，一位名叫沃尔特·斯塔尔 (Walter Starr) 的富商请他承担一个特殊项目——一本摄影集，他希望这本书能纪念他年幼的儿子彼得 (Peter)，彼得在独自攀爬尖塔崎岖的尖塔时坠落身亡。

William Turnage: He got very involved in this book project, that was one of the most beautiful books he ever did, Sierra Nevada: the John Muir Trail, and it was a limited edition, only five hundred copies but absolutely magnificent book.

威廉·特纳奇：他非常参与这本书的项目，这是他写过的最美丽的书之一，《内华达山脉：约翰·缪尔小道》，这是一本限量版，只有五百本，但绝对是一本精彩的书。

It took several years, there was a lot of difficulty getting the printing right...it was very definitely the most important work he had done as a artist until then as far as a books....

花了好几年的时间，在正确印刷方面遇到了很多困难……这绝对是他作为一名艺术家迄今为止所做的最重要的作品……就书籍而言……

Narrator: Sierra Nevada: the John Muir Trail was a photographic masterpiece.

旁白：内华达山脉：约翰缪尔步道是一幅摄影杰作。

"Here, in bright light and in rare clarity is to be found the very essence of the Sierra," one man said.

“在这里，在明亮的光线和罕见的清晰度中可以找到山脉的本质，”一名男子说道。

Alfred Stieglitz, to whom Adams had sent one of the first copies, was even more emphatic.

亚当斯向他寄去了第一批副本之一的阿尔弗雷德·施蒂格利茨 (Alfred Stieglitz) 的态度甚至更加强调。

"You have literally taken my breath away," he wrote.

“你简直让我屏住呼吸，”他写道。

"What perfect photography.

“多么完美的摄影啊。

And how perfectly preserved in the 'reproductions.' I'm glad to have lived to see this happen.

“复制品”保存得多么完美。我很高兴能活着看到这一切发生。

And here in America.

而在美国。

All American.

都是美国人。

And I'm not a nationalist.

而且我不是民族主义者。

I am an idolater of perfect workmanship of any kind.

我是任何完美工艺的崇拜者。

And this is truly perfect workmanship.

这确实是完美的做工。

I am elated."

我很高兴。”

William Turnage: And it also was influential in the effort to create King's Canyon National Park.

William Turnage：它对创建国王峡谷国家公园的努力也产生了影响。

He actually took many of the photographs to Washington to lobby the Senate for the Sierra Club, and he sent a copy to Harold Ickes, the Secretary of the Interior, who was a great fan of his.

事实上，他把许多照片带到华盛顿，游说参议院支持塞拉俱乐部，他还向内政部长哈罗德·伊克斯寄了一份副本，他是他的忠实粉丝。

And Ickes's took it over to President Roosevelt and used it to persuade Roosevelt to support King's Canyon as a national park.

伊克斯把它交给了罗斯福总统，并用它说服罗斯福支持国王峡谷作为国家公园。

And Roosevelt liked it so much he insisted on keeping it so, Ansel had to send another copy to Ickes...

罗斯福非常喜欢它，他坚持保留它，所以安塞尔不得不再寄一份给伊克斯……

Narrator: On March 4th, 1940, President Franklin Roosevelt signed into law a bill officially incorporating King's Canyon into the national park system.

旁白：1940 年 3 月 4 日，富兰克林·罗斯福总统签署法案，正式将国王峡谷纳入国家公园体系。

"I realize," the head of the National Park Service later wrote Adams, "that a silent but most effective voice in the campaign was your own book...So long as that book is in existence, it will go on justifying the Park."

“我意识到，”国家公园管理局负责人后来写信给亚当斯，“竞选中无声但最有效的声音是你自己的书……只要那本书存在，它就会继续为公园辩护。”

In the pages of Adams ' exquisite volume, art and politics had come together -- and both had triumphed.

在亚当斯这本精美的著作中，艺术和政治结合在一起——并且两者都取得了胜利。

Narrator: For fifteen more years, he would continue to work at the very height of his powers as a photographer and an artist -- as the depression waned, and world war came, and the war itself served to accelerate a crucial shift in his photography -- away from the lyrical intimacy of his early work, towards grander, more dramatic themes.

旁白：在接下来的十五年里，随着大萧条的消退和世界大战的到来，他将继续以摄影师和艺术家的巅峰状态进行创作，而战争本身加速了他摄影的关键转变——从他早期作品的抒情亲密感转向更宏大、更具戏剧性的主题。

Too old at forty for military service, he began work in the fall of 1941 on an ambitious series of murals for the Department of the Interior -- epic images, of immense size and technical difficulty, portraying an American landscape as if "touched by the hand of God," one man later said.

40 岁的他不适合服兵役，1941 年秋天，他开始为内政部创作一系列雄心勃勃的壁画——史诗般的图像，尺寸巨大，技术难度大，描绘了美国的风景，仿佛“被上帝之手触摸过”，一位人士后来说。

Jonathan Spaulding: Well, it's clear that the style of his work changed throughout the course of his life.

乔纳森·斯波尔丁：嗯，很明显，他的作品风格在他的一生中发生了变化。

And the more quiet formalist fine art modernism of his early years did change towards a grander, more heroic and populist style in his later years...

而他早年较为沉静的形式主义美术现代主义，到了晚年也确实转向了更加宏大、更加豪迈、更加平民化的风格……

Part of his change in the forties when this transformation really happens was driven by the necessities of his job...

当这种转变真正发生时，他在四十年代的改变部分是由他工作的需要所驱动的......

for example, the mural project for the Department of the Interior, he needed to create giant murals for the hallways.

例如，内政部的壁画项目，他需要为走廊创作巨型壁画。

He needed images that were going to work at that scale...

他需要能够在这种规模下发挥作用的图像......

But at the same time there was, in a sense, the historical moment behind the transformation as well.

但与此同时，从某种意义上说，转型背后也存在着历史时刻。

The coming of the Second World War created the sense that we're at a dramatic transition point in history, that was a time of intense conflict and intense sense of anything could happen.

第二次世界大战的到来让人感觉我们正处于历史上一个戏剧性的转折点，那是一个冲突激烈的时期，人们强烈地感觉到任何事情都有可能发生。

So I think the drama of those years infused itself into the tone of his work.

所以我认为那些年的戏剧性融入了他作品的基调中。

It wasn't a quiet time.

那段时间并不平静。

Andrea Gray Stillman: The first thing he does is he drops the horizon.

安德里亚·格雷·斯蒂尔曼：他做的第一件事就是放弃地平线。

If you look at landscapes from the '20s and the very early '30s, it's always a high horizon and you're kind of locked out...

如果你观察 20 年代和 30 年代初的风景，你会发现地平线总是很高，你有点被拒之门外……

when he gets into ...

当他进入...

the early '40s ...

20世纪40年代初...

he drops that horizon and suddenly you've got these limitless spaces and this incredible feeling of space and __ and that's when I think he's at his best, when you just can kind of lose yourself in an Ansel Adams sky....

他降低了地平线，突然你就拥有了这些无限的空间和令人难以置信的空间感和__，那就是我认为他处于最佳状态的时候，当你可以在安塞尔·亚当斯的天空中迷失自己的时候......

Narrator: Driving through northern New Mexico late one afternoon in early November 1941, he came across a sleepy village in the last light of day -- and made one of the most powerfully haunting photographs of his career.

旁白：1941 年 11 月上旬的一个下午晚些时候，他开车穿过新墨西哥州北部，在最后的曙光中遇到了一个沉睡的村庄，并拍摄了他职业生涯中最令人难忘的照片之一。

Alan Ross: Well, Moonrise, Hernandez , I think, is probably one of the most famous photographs in the twentieth century and continuing on into this new century.

艾伦·罗斯：嗯，我认为《埃尔南德斯的月出》可能是二十世纪最著名的照片之一，并将持续到新世纪。

And it's one of those examples of what Ansel liked to call chance favoring a prepared mind...That he was ready and even though he didn't have a light meter, or couldn't dig it out of his case in time, he was able to successfully get this on film with one shot.

这是安塞尔喜欢称之为机会青睐有准备的头脑的例子之一……他已经准备好了，即使他没有测光表，或者无法及时从箱子里挖出来，他还是能够成功地用一个镜头将这一点拍成电影。

Michael Adams: All I remember is that we came to a very sudden stop and it was one of these hurry, hurry, hurry, get out, get the tripod, get the camera, this sort of thing, I see a wonderful picture and then, he took this picture Moonrise -- the one and only picture that he got is the one that we know today.

迈克尔·亚当斯：我只记得我们突然停下来，然后赶紧下车，拿起三脚架，拿起相机，诸如此类的事情，我看到了一张很棒的照片，然后，他拍了这张月出的照片——他拍到的唯一一张照片就是我们今天所知道的那张。

Within minutes or seconds of that picture, the sun set and lost the light on the gravestones that were in the foreground.

在这张照片拍摄后的几分钟或几秒钟内，太阳落山了，前景墓碑上的光线消失了。

John Sexton , Photographer: That's in the midst of a long photographic assignment, he's photographing everyday, that eight by ten camera is second nature to him, even though as the story goes, he can't find his light meter and he guesstimates the exposure based upon this cryptic knowledge of the moon reflecting two hundred and fifty candles per square foot...

约翰·塞克斯顿，摄影师：那是在一项漫长的摄影任务中，他每天都在拍摄，八乘十的相机对他来说是第二天性，尽管按照故事的发展，他找不到测光表，并且他根据月亮每平方英尺反射两百五十支蜡烛的神秘知识来猜测曝光......

He tries to make a second back up exposure, but in whatever the length of time is that trained hand takes the few seconds to turn over that eight by ten holder, highly tuned, highly practiced, at the prime of his physical life, he doesn't even make the second exposure because the light goes off the crosses.

他试图进行第二次备份曝光，但无论训练有素的手花几秒钟的时间来翻转那个八乘十的固定器，高度调整，高度练习，在他身体生命的黄金时期，他甚至没有进行第二次曝光，因为光线从十字架上消失了。

I mean, he's a tuned photographic instrument and he's regularly exercising that part of his activity and I think that's when he makes his best photographs.

我的意思是，他是一个经过调校的摄影仪器，他经常锻炼这部分活动，我认为那是他拍出最好照片的时候。

William Turnage: He manipulated the work tremendously in the darkroom.

威廉·特纳奇：他在暗室里对作品进行了极大的处理。

He always said that the negative is the equivalent of the composer's score and the print is the equivalent of the conductor's performance, and the same piece of Mozart is conducted differently, performed differently, by different orchestras, different conductors, and Ansel performed his own negatives differently.

他总是说底片相当于作曲家的乐谱，版画相当于指挥家的演奏，莫扎特的同一首作品，由不同的管弦乐队、不同的指挥家以不同的方式进行、不同的演奏，安塞尔也以不同的方式演奏自己的底片。

Alan Ross: It was very important to Ansel to convey his inner feelings about the subject, and ...you know, he put the negative in the enlarger, and every printing experience was a new essentially rebirth of the image...

艾伦·罗斯：对于安塞尔来说，传达他对这个主题的内心感受非常重要，而且……你知道，他将底片放入放大机中，每次印刷体验本质上都是图像的一次新的重生……

Sometimes he printed things, you know, very somber, sometimes he would print things light and airy...

有时他会打印一些非常阴郁的东西，有时他会打印一些明亮而通风的东西......

But every time he tried to be faithful to how he felt about that scene...

但每次他试图忠实于他对那个场景的感受......

The image is Winter Sunrise , the Sierra Nevada winter...

图像是冬季日出，内华达山脉的冬天......

...If Ansel were to ...just print it straight...it would be pretty boring...So what Ansel typically would do would be to darken the sky considerably and give it a lot of mood, and in this particular case with Winter Sunrise, darkening that sky ...accentuates ...the drama of the sunlight on the snowy cliffs, and also enhances that spot of sunlight coming down on the foreground here, which helps enhance that feeling of distance....

...如果安塞尔...直接打印出来...那会很无聊...所以安塞尔通常会做的就是使天空显着变暗并赋予它很多情绪，在这个特殊的情况下，在冬季日出中，使天空变暗...强调...阳光照射在白雪皑皑的悬崖上的戏剧性，并且还增强了落在前景上的阳光点，这有助于增强距离感...

William Turnage: It was like a ballet, watching him in the darkroom jumping around and dodging and burning and saying, "I want the sky to be richer," and he really worked them over, and often it would take him a whole day before he got one print from a negative right.

威廉·特纳奇：这就像一场芭蕾舞，看着他在暗室里跳来跳去，躲闪，燃烧，并说，“我希望天空更丰富，”他真的把它们仔细研究了一遍，通常他要花一整天的时间才能从负片上得到一张照片。

Once he did that he could make more prints but it was real, real labor.

一旦他这样做了，他就可以制作更多的印刷品，但这是真正的、真正的劳动。

I don't know, half or forty percent of the creative process occurred in the darkroom....

我不知道，一半或百分之四十的创作过程发生在暗室里......

Andrea Gray Stillman: For me, Ansel's photographs exist on many different levels and that's why I find them so rich...

安德里亚·格雷·斯蒂尔曼：对我来说，安塞尔的照片存在于许多不同的层面，这就是为什么我发现它们如此丰富......

there's the beauty, there's the technique, there's the message to me that Ansel's ...

这里有美丽，有技巧，还有向我传达的信息：安塞尔……

photographs always give me, which is ...

照片总是给我，那就是……

his patriotism...

他的爱国心...

And I believe that he was supremely patriotic, in a very open, Californian way.

我相信他非常爱国，以一种非常开放的加州方式。

And, to me, his photographs just scream "America," it's as if there's a flag up there.

而且，对我来说，他的照片只是尖叫着“美国”，就好像那里有一面旗帜。

There's a flag on top of Moonrise, on top of Mount Williamson, and on top of Yosemite Valley View.

月出山顶、威廉森山山顶和约塞米蒂谷景观山顶上都有一面旗帜。

And that's one reason I think people in America find -- all over the world, but particularly in America -- find them enthralling...

我认为这就是美国人——世界各地的人们，尤其是美国——发现它们令人着迷的原因之一……

Narrator: In many ways the war was the defining moment in Adams's careerä end of watershed in the history of the environmental movement.

旁白：从很多方面来说，这场战争是亚当斯职业生涯的决定性时刻，也是环保运动历史上分水岭的终结。

As the forces unleashed in the post war years threatened the wilderness as never before.

战后释放的力量对荒野造成了前所未有的威胁。

Carl Pope , The Sierra Club: My best guess is it was in fact the interstate highways system and the car.

Carl Pope，塞拉俱乐部：我最好的猜测是实际上是州际公路系统和汽车。

That as long as part of the country was really hard to get to people took wildness for grantedäand it was at the moment when everything was going to be out there and you could touch it that people began to say wait a minute, if you touch a butterfly's wings you ruin it.

只要这个国家的某些地方真的很难到达，人们就会把野性视为理所当然——而正是在一切都将在那里并且你可以触摸它的那一刻，人们开始说等一下，如果你触摸了蝴蝶的翅膀，你就会毁掉它。

And maybe some of these places are more like a butterfly maybe if we touch them then the scales will come off and the glimmer will be gone and the sheen will fade.

也许其中一些地方更像一只蝴蝶，也许如果我们触摸它们，那么鳞片就会脱落，微光就会消失，光泽就会褪色。

And people began to question, I think, in the '50s whether ease of getting there was always a good thing.

我认为，在 20 世纪 50 年代，人们开始质疑，交通便利是否总是一件好事。

Narrator: In the years to come Adams would redouble his efforts to make Americans understand why wilderness mattered, lobbying congress for stricter laws, formulating policies for The Sierra Club, and writing countless articles and letters.

旁白：在接下来的几年里，亚当斯将加倍努力，让美国人了解荒野的重要性，游说国会制定更严格的法律，为塞拉俱乐部制定政策，并撰写了无数的文章和信件。

William Turnage: I bet he wrote more letters to the editor than any sane person in American history, at least 5,000, and he really thought this was a tremendous way to influence things....

William Turnage：我敢打赌，他给编辑写的信比美国历史上任何理智的人都多，至少有 5,000 封，而且他真的认为这是影响事物的一种巨大方式......

And he would just sit there, he'd type every one of them himself, you know, sitting there at his little typewriter...

他就坐在那里，亲自打字，你知道，坐在他的小打字机前……

but that's how he worked.

但这就是他的工作方式。

He was passionately involved.

他热情地参与其中。

He was one of the great activists, he came to be known as "Mr. Sierra Club." But his real impact on the twentieth century American environmental movement was the inspirational value of his work.

他是一位伟大的活动家，被称为“塞拉俱乐部先生”。但他对二十世纪美国环保运动的真正影响是他的作品的鼓舞人心的价值。

Not made for environmental purposes, but they became symbols of the American wilderness.

它们不是为了环保目的而制造的，但它们成为了美国荒野的象征。

And I think that to me, that that's how he really made a difference.

我认为对我来说，这就是他真正发挥作用的方式。

Narrator: Every now and then he wondered whether the creative fires that had inspired him in his youth had begin to fade or whether he had said all he had to say in the field of photography.

旁白：他时不时地想，年轻时激发他灵感的创作之火是否已经开始消退，或者他是否已经说出了他在摄影领域所要说的一切。

But there was little time for such thoughts now and in 1952 he embarked upon a series of magazine and book projects in collaboration with his good friend Nancy Newhall, hoping to reach an even broader audience with his message.

但现在已经没有时间思考这些了，1952 年，他与好朋友南希·纽霍尔 (Nancy Newhall) 合作开始了一系列杂志和书籍项目，希望将他的信息传达给更广泛的受众。

Nancy Newhall: Confined by our own artifice, borne up upon vast abundance and colossal waste restless and disconsolate we course across this dwindling globe that once seemed infinite seeking somewhere, in some last far place our birthright.

南希·纽霍尔：被我们自己的诡计所限制，被巨大的富足和巨大的浪费所支撑，我们不安和沮丧地穿越这个日益缩小的地球，曾经似乎无限地寻找某个地方，在某个最后的遥远地方，我们与生俱来的权利。

The wild majesty, beauty and freedom, here which for a million years man knew.

狂野的威严、美丽和自由，一百万年来人们都知道这里。

William Turnage: Of course, the most important thing they ever did to together was This Is the American Earth, which was....

威廉·特纳奇：当然，他们一起做过的最重要的事情就是“这就是美国地球”，那是……

published in the same year as Rachel Carson's Silent Spring, and that was in many ways the single most important book that kicked off the kind of modern mass environmental movement But Ansel's book was very, very influential in that process in the same year, and I think next to Silent Spring , maybe the most seminal book....

与雷切尔·卡森（Rachel Carson）的《寂静的春天》于同一年出版，从很多方面来说，这都是掀起现代大众环保运动的最重要的一本书，但安塞尔的书在同一年的这一过程中非常非常有影响力，我认为除了《寂静的春天》之外，这可能是最具影响力的一本书……

Narrator: Three years later in 1963 Adams and Newhall would collaborate again on a vast retrospective of his work, called The Eloquent Light that would consolidate and extend his reputation and fame -- and, in many ways, mark the beginning of the end of the most fruitful part of his career.

旁白：三年后的 1963 年，亚当斯和纽霍尔再次合作对他的作品进行了一次大型回顾展，名为《雄辩之光》，这将巩固和扩大他的声誉和名气，并且在很多方面标志着他职业生涯中最富有成果的部分结束的开始。

William Turnage: At some point in the late fifties ...the great creative urge began to dissipate...but certainly ...

威廉·特纳奇：在五十年代末的某个时刻……伟大的创作冲动开始消散……但可以肯定……

after the mid--to--late fifties...

五十年代中后期以后...

he made very few photographs of real consequence....whether he felt he had said it or done it.

他很少拍摄真正具有影响力的照片……无论他觉得自己说过或做过。

He continued to make photographs.

他继续拍摄照片。

But the drive was gone.

但驱动器不见了。

And he was sixty--one years old at the time of the exhibition, and many artists have much much shorter periods of great productivity.

展览时他已经六十一岁了，许多艺术家的高生产力时期要短得多。

John Szarkowski: I think it probably has a lot to do with just plain stamina...

约翰·萨科夫斯基：我认为这可能与普通的耐力有很大关系......

I don't mean just physical stamina...the ability to kind of stay with it and continue to worry it and to do it from the other side, to try and to keep confronting this suspicion that you haven't really understood it yet, that you haven't found the right place to stand, you haven't found where the edges of the pictures are, or you haven't found, haven't found really what the components of the picture are yet -- it gets easier to abandon it half done when you get older.

我指的不仅仅是身体上的耐力……能够坚持下去，继续担心它，从另一边做这件事，尝试并不断面对这种怀疑，即你还没有真正理解它，你还没有找到正确的站立位置，你还没有找到图片的边缘在哪里，或者你还没有找到，还没有真正找到图片的组成部分——当你变老时，更容易放弃它的一半。

William Turnage: And he felt very guilty about it.

威廉·特纳奇：他对此感到非常内疚。

I first came to know him in the seventies -- or early seventies -- he was 69 I think, and he was always saying, "Aw, I've really got to get out and photograph," you could tell that he felt that they were going to take his union card away or something.

我第一次认识他是在七十年代——或者七十年代初——我想他已经 69 岁了，他总是说，“哦，我真的必须出去拍照，”你可以看出他觉得他们会拿走他的工会卡什么的。

He really, it was guilt, and he was a big man for guilt, but it didn't make any difference.

他确实，这是愧疚，而且他是一个愧疚的大人物，但这并没有什么区别。

He didn't, he just didn't do it, and when he went out nothing happened.

他没有，他就是没有做，他出去之后什么也没发生。

Andrea Gray Stillman: ...if you look at the few late pictures he made late in his life, Moon and Half Dome, El Capitan Winter Sunrise -- Oh, my gosh ...

安德里亚·格雷·斯蒂尔曼：……如果你看看他晚年拍摄的几张晚期照片，《月亮和半圆顶》、《埃尔卡皮坦冬日日出》——哦，天哪……

those are two of his ...twelve best pictures.

这是他的...十二张最好的照片中的两张。

And he made them on the spur of the moment when he happened to be in Yosemite with a camera, which shows he could still do it.

当他碰巧带着相机在约塞米蒂国家公园时，他一时冲动拍摄了这些照片，这表明他仍然可以做到。

And so I am convinced that the reason he didn't was he was always worried about the wolf at the door and money...

所以我确信他没有这样做的原因是他总是担心门口的狼和金钱......

Narrator: He was nearing seventy, when the financial security that had eluded him all his life materialized at last-- in the form of an enterprising one--time graduate student in forestry, named Bill Turnage ≠ whom Adams had met in the spring of 1970 while lecturing at Yale.

旁白：他快七十岁了，他一生都无法获得的财务保障终于实现了——以一位富有进取心的一次性林业研究生的形式出现，他名叫比尔·特纳奇（Bill Turnage），亚当斯是 1970 年春天在耶鲁大学讲学时认识的。

Taking over the management of Adams affairs, Turnage swiftly turned the Ansel Adams archive into a multi--million dollar business -- and Adams himself into a popular icon, and the first mass marketed fine arts photographer in the world.

特纳奇接管了亚当斯的事务，迅速将安塞尔·亚当斯的档案变成了一项价值数百万美元的生意，而亚当斯本人也成为了一个受欢迎的偶像，也是世界上第一位面向大众的美术摄影师。

John Szarkowski: Ansel in his last years became a cross between ones favorite uncle and Smokey the Bear...But that wasn't the real artist.

约翰·萨科夫斯基：安塞尔在他生命的最后几年成为了他最喜欢的叔叔和斯莫基熊的结合体……但这并不是真正的艺术家。

I think that was somebody who had come to recognize that his best work as a photographer was behind him, and was proceeding to be a [sic] extraordinarily valuable member of society -- as an educator, as a conservationist, a spokesman for a lot of things that many of us regard as highly important.

我认为这个人已经认识到他作为一名摄影师的最佳作品已经过去，并且正在成为一名非常有价值的社会成员——作为一名教育家、一名自然资源保护主义者、以及许多我们许多人认为非常重要的事情的代言人。

But that wasn't the greatest Ansel.

但这还不是最伟大的安塞尔。

In my view, the greatest Ansel was Ansel the artist, and that ...

在我看来，最伟大的安塞尔是艺术家安塞尔，而且......

Ansel was operating at full steam for ...more than twenty years, which is very good, very good for an artist.....

安塞尔全速运转了……二十多年，这对于一个艺术家来说非常好……

William Turnage: You know, he spent the last two decades of his life in a very, very productive way.

威廉·特纳奇：你知道，他以非常非常富有成效的方式度过了生命的最后二十年。

First of all, making prints of many photographs he'd been unable to print when he was racing around doing jobs and so on, he created a whole series of books which was tremendously important to him because ...he wanted people to see his work.

首先，他打印了许多他在忙于工作时无法打印的照片，创作了一系列对他来说非常重要的书籍，因为……他希望人们看到他的作品。

He was also at his most influential from the standpoint of the environmental movement, he was the one American environmentalist who could meet with the president, just by picking up the telephone.

从环保运动的角度来看，他也是最具影响力的，他是美国唯一一位只需拿起电话就能与总统会面的环保人士。

He was very very active lecturing, going around the country, both on, particularly on photography, more than on the environment, so he was flat out.

他非常非常积极地在全国各地演讲，尤其是在摄影方面，而不是环境方面，所以他全力以赴。

Even when he was eighty, he was working twelve, fourteen hours a day, seven days a week, traveling constantly and very, very productive.

即使在他八十岁的时候，他仍然每周工作 7 天，每天工作十二、十四个小时，不断出差，效率非常非常高。

Narrator: Year after year, the honors and accolades poured in.

旁白：年复一年，荣誉和赞誉纷至沓来。

In the fall of 1979, he was honored with a retrospective exhibit at the Museum of Modern Art in New York -- and featured on the cover of Time magazine.

1979 年秋天，他荣幸地在纽约现代艺术博物馆举办了回顾展，并登上了《时代》杂志的封面。

One year later, at a gala ceremony at the White House, he was awarded the Presidential Medal of Freedom -- the nation's highest civilian honor.

一年后，在白宫举行的盛大仪式上，他被授予总统自由勋章——美国最高的平民荣誉。

Interview: Interviewer: Have you ever considered what would be a proper epitaph for Ansel Adams?

采访： 采访者：您有没有考虑过什么才是安塞尔·亚当斯合适的墓志铭？

Adams: I think Alfred Stieglitz's epitaph -- he told me what he wanted, and that would be ideal -- It says: "Here lies Alfred Stieglitz.

亚当斯：我认为阿尔弗雷德·斯蒂格利茨的墓志铭——他告诉了我他想要什么，这将是理想的——上面写着：“这里安息着阿尔弗雷德·斯蒂格利茨。

He lived for better or for worse, but he's dead for good."

他活着无论好坏，但他都死了。”

William Turnage: Here was a person who had this incredible creative desire to express himself, and wanted to live, and live and live.

威廉·特纳奇：这个人有着令人难以置信的创造力来表达自己，并且想要生活、生活、生活。

And I used to kind of kid him about it, and he'd say, "Well, you know, you don't think living forever's important now, but you will when you're my age." ...He really, really feared death and he really, I'm sure, he wanted to live to be a hundred and twenty and keep on working.

我曾经以此开玩笑他，他会说，“好吧，你知道，你现在不认为永远活着很重要，但当你到了我这个年纪你就会明白了。” ......他真的、真的害怕死亡，而且我确信他真的想活到一百二十岁并继续工作。

Narrator: In the end, even Adams' phenomenal reserves of energy began to fail.

旁白：最后，就连亚当斯惊人的能量储备也开始失效。

In 1983, he visited Yosemite for the last time.

1983年，他最后一次访问优胜美地。

One winter afternoon, not long after his eightieth birthday, he ventured out to the headlands of the Golden Gate in San Francisco, to wander the cliffs and shoreline of his childhood one last time.

一个冬天的下午，在他八十岁生日后不久，他冒险前往旧金山金门海岬，最后一次漫步在他童年时代的悬崖和海岸线上。

High up on the rugged ramparts overlooking the Pacific, he came upon an ancient concrete bunker, a crumbling and abandoned relic of the Second World War.

在俯瞰太平洋的崎岖城墙上，他发现了一个古老的混凝土掩体，这是第二次世界大战中废弃的摇摇欲坠的遗迹。

"It seems," he wrote, "that almost anything manmade that endures in time, acquires some qualities of the natural.

“看来，”他写道，“几乎所有能够经受住时间考验的人造物，都获得了一些自然的品质。

Bleak shapes grow into a kind of magic that, once seen, cannot easily be ignored."

黯淡的形状会变成一种魔力，一旦看到，就无法轻易忽视。”

It was one of the last photographs he ever took.

这是他拍摄的最后一张照片。

Two years later, on the evening of April 22nd, 1984 -- his heart gave out in a hospital near his home in Carmel Highlands.

两年后，1984 年 4 月 22 日晚上，他在卡梅尔高地家附近的一家医院里心脏衰竭。

He was eighty--two years old.

他已经八十二岁了。

Six months after Adams' death, in an extraordinary tribute to the great photographer and environmentalist, Congress set aside an immense tract of wild land southeast of Yosemite -- and named it the Ansel Adams Wilderness.

亚当斯去世六个月后，为了向这位伟大的摄影师和环保主义者致敬，国会在优胜美地东南部划出了一大片荒地，并将其命名为安塞尔·亚当斯荒野。

One year later, in August 1985, a remote, windswept peak in the very heart of the High Sierra was officially named Mount Ansel Adams.

一年后，即 1985 年 8 月，高山脉中心一座偏远、多风的山峰被正式命名为安塞尔·亚当斯山。

William Turnage: That would've thrilled him more than anything.

威廉·特纳奇：这会让他更加兴奋。

The fact that Congress created the wilderness, named it after him and that it was his absolutely favorite part of the world.

事实上，国会创造了这片荒野，并以他的名字命名，这绝对是他最喜欢的世界的一部分。

And so I think he would've, I think he would've really loved that.

所以我认为他会真的很喜欢这样。

Michael Adams: We made a pilgrimage the next year.

迈克尔·亚当斯：第二年我们进行了一次朝圣。

We put Ansel's ashes up on the mountain, sort of between the mountain and the national forest.

我们把安塞尔的骨灰撒在山上，就在山和国家森林之间。

It's now named the Ansel Adams Wilderness, but it's right on the south border of Yosemite between Yosemite and Sequoia National Forest.

它现在被命名为安塞尔·亚当斯荒野，但它位于优胜美地的南部边界，介于优胜美地和红杉国家森林之间。

Ann Adams Helms: Oh, I think it's so appropriate...I can't think of a better tribute to him...this particular site with that mountain ...

安·亚当斯·赫尔姆斯：哦，我认为这是非常合适的......我想不出更好的向他致敬......这个特定的地点和那座山......

in an area that he especially loved.

在他特别喜欢的领域。

That means a lot.

这意味着很多。

John Szarkowski: Adams pictures are perhaps anachronisms.

约翰·萨科夫斯基：亚当斯的照片也许不合时宜。

They are perhaps the last confident and deeply felt pictures of their tradition...

它们也许是他们传统的最后一张充满自信和深刻感受的照片......

It does not seem likely that a photographer of the future will be able to bring to the heroic wild landscape the passion, trust and belief that Adams has brought to it.

未来的摄影师似乎不太可能为这片英雄般的荒野景观带来亚当斯所带来的热情、信任和信念。

If this is the case, his pictures are all the more precious, for they then stand as the last records for the young and for the future of what they missed.

如果是这样的话，他的照片就更珍贵了，因为它们是年轻人和他们错过的未来的最后记录。

For the aging, for a little while, they will be a souvenir of what was lost.

对于衰老来说，在一段时间内，它们将成为失去的东西的纪念品。

Carl Pope: Well, Ansel's life encompasses the long national debate -- the debate that I think began ten years before he was born, with the release of the Census of 1890, the declaration that the frontier had closed, and Frederick Jackson Turner's famous challenge to the American people: Who were we going to be, now that we didn't have a frontier anymore?

卡尔·波普：嗯，安塞尔的一生包含了漫长的全国性辩论——我认为这场辩论在他出生前十年就开始了，随着 1890 年人口普查的发布、边境关闭的宣布，以及弗雷德里克·杰克逊·特纳对美国人民提出的著名挑战：既然我们不再有边境了，我们将成为谁？

And Ansel's life occupied almost exactly a century in which Americans debated that question, and, at the end of the century, came to Ansel's answer -- which was that, while the frontier as a statistically measured artifact of the Census Bureau, might have ended, wildness did not end with the frontier.

在安塞尔的一生中，美国人争论这个问题几乎整整一个世纪，并在本世纪末得出了安塞尔的答案——虽然作为人口普查局的统计测量工具的边境可能已经结束，但荒野并没有随着边境而结束。

And that what it was to be an American was to respect and cherish wildness.

作为一个美国人，就应该尊重和珍惜野性。

And Ansel, in his own wild way, I think, was one of the crucial voices or, I suppose, images in Ansel's case, in saying to the American people, "We had this opportunity." If you look at Ansel's pictures from the 1920s and the 1930s, you wouldn't know that the frontier had closed.

我认为，安塞尔以他自己狂野的方式向美国人民说：“我们有这个机会。”如果你看安塞尔 1920 年代和 1930 年代的照片，你不会知道边境已经关闭。

You would think that America was still the wild place that Bernard DeVoto wrote about in his books about the 1850s.

你可能会认为美国仍然是伯纳德·德沃托 (Bernard DeVoto) 在他关于 1850 年代的书中所描述的蛮荒之地。

And I think Ansel captured in film that opportunity, that possibility, which Americans spent all of his lifetime debating, whether to value.

我认为安塞尔在电影中捕捉到了美国人一生都在争论是否重视的机会和可能性。

And then really, almost at the end of his life, I think Americans decided, we wanted to be Americans, we did not want a second Europe.

然后，实际上，几乎在他生命的尽头，我认为美国人决定，我们想成为美国人，我们不想要第二个欧洲。

We wanted a place that was still wild.

我们想要一个仍然荒凉的地方。

Browse some of Adams's most beloved images in this photo gallery.

在此照片库中浏览亚当斯最喜爱的一些照片。

Due to the earthquake of 1906, San Franciscans had to delay their grand plans for what was to become the Panama Pacific International Exposition.

由于 1906 年的地震，旧金山人不得不推迟举办巴拿马太平洋国际博览会的宏伟计划。

But by 1909 the city had recovered sufficiently for its residents to focus on the exhibition again.

但到 1909 年，这座城市已经充分恢复，居民可以再次关注展览。

Ansel Adams, age 4, survived the deadly 1906 San Francisco earthquake, but was tossed face-first into a garden wall, giving him what his friend Cedric Wright would call an "earthquake nose."

4 岁的安塞尔·亚当斯 (Ansel Adams) 在 1906 年旧金山致命地震中幸存下来，但脸朝下被扔到花园墙上，导致他的朋友塞德里克·赖特 (Cedric Wright) 称之为“地震鼻子”。

In 1893, Frederick Jackson Turner presented his thesis, "The Significance of the Frontier in American History" at Columbian Exposition in Chicago.

1893年，弗雷德里克·杰克逊·特纳在芝加哥哥伦布博览会上发表了他的论文《美国历史上边境的意义》。

Like painters of the era, photographers were influenced by the ideas of Manifest Destiny and Transcendentalism.

与那个时代的画家一样，摄影师也受到昭昭命运和超验主义思想的影响。

Virginia and Ansel shared a passion for the outdoors and for classical music.

弗吉尼亚和安塞尔都对户外活动和古典音乐充满热情。

Adams was a very active child, and felt restricted in school, which he found meaningless.

亚当斯是一个非常活跃的孩子，他在学校里感到受到限制，他觉得这毫无意义。

When he was 13, his father began to tutor him at home.

当他13岁的时候，他的父亲开始在家辅导他。

Learn about the history of photography technology and the career of Ansel Adams

了解摄影技术的历史和安塞尔·亚当斯的职业生涯

Is photography a fine art, equivalent to the other visual arts, or a documentary tool, best suited for recording the facts?

摄影是一种与其他视觉艺术同等的美术，还是一种最适合记录事实的纪实工具？

American Experience talked to William Tweed, the chief park interpreter for Sequoia and Kings Canyon National Parks.

《美国经验》采访了红杉国家公园和国王峡谷国家公园的首席公园翻译威廉·特威德。

about Kings Canyon, a place that Ansel Adams helped make a national park.

关于国王峡谷，安塞尔·亚当斯 (Ansel Adams) 帮助这里建立了一个国家公园。

Ansel Adams took his first long trip into the wilderness in 1920, when he was just eighteen.

1920 年，安塞尔·亚当斯 (Ansel Adams) 第一次长途跋涉进入荒野，当时他年仅 18 岁。