比爾·布蘭特（Bill Brandt）於1904年5月2日出生於德國漢堡，後來成為英國最具影響力的攝影師之一，在20世紀攝影界享有盛名。他的作品以探索社會問題、展現超現實主義情感以及非凡的構圖和光線感為特色。布蘭特的攝影作品涵蓋紀實、肖像和風景，展現了他敏銳的觀察力和捕捉英國生活精髓的能力。儘管他出生於德國，但他的作品常被認為是典型的英國風格，為人們展現英國社會、風景以及在歷史關鍵時刻的人物提供了獨特的視角。
布蘭特的早年生活深受其成長文化環境的影響。他出生於一個富裕的英德家庭，早期接觸的藝術和旅行塑造了他未來的職業生涯。年輕時，布蘭特患上了肺結核，並因此長期處於康復期。正是在這段時間裡，他對攝影的興趣與日俱增。 1929年，布蘭特移居巴黎，開始與著名的美國超現實主義攝影師曼雷合作，這段經歷對他的風格產生了重大影響。超現實主義運動強調夢幻般的抽象意象，這深深觸動了布蘭特，他後來將這些理念融入自己的作品中，尤其是在他後期的肖像和風景攝影中。
1931年，布蘭特移居英國，開始記錄這個國家的社會和文化。正是在這段時間裡，布蘭特開始了一系列社會紀實項目，捕捉英國上層階級和貧困勞工之間的鮮明對比。他的第一本書《英國在家》（1936年）有力地探索了英國的階級差距，其中的照片讓我們得以一窺富人和工人階級的日常生活。布蘭特對細節的敏銳觀察，加上他捕捉瞬間情感力量的能力，使這些照片成為英國社會深刻而持久的記錄。
布蘭特在1930年代和1940年代的作品主要關注英國工人階級所面臨的困境，尤其是在二戰前夕和二戰期間。他的第二本書《倫敦之夜》（1938年）展現了他捕捉城市夜間生活戲劇性和氛圍的能力。這些夜間拍攝的照片以高對比度、深陰影和戲劇性的用光為特色——這種技巧後來成為布蘭特風格的標誌。超現實主義的影響在這些作品中顯而易見，因為布蘭特經常試圖傳達拍攝對象的情感和心理氛圍，而不僅僅是記錄事件。
二戰期間，布蘭特作為自由攝影師為新聞部和其他出版物工作，記錄了戰爭對英國景觀和人民的影響。他這時期的攝影作品，尤其是他拍攝的防空洞和空襲時家人擠在一起的場景，是戰時英國最具代表性的照片之一。這些照片不僅捕捉了戰爭造成的物質破壞，也展現了英國人民的堅韌和堅忍。布蘭特巧妙地平衡了戰爭的殘酷現實與溫柔與希望的瞬間，從而激發了觀者的同情心，這些作品充分展現了布蘭特激發觀者同情的能力。
戰後時期，布蘭特的作品呈現出更超現實主義和實驗性的特質，尤其是在他的肖像和風景攝影方面。他為20世紀40年代和50年代的藝術家、作家和知識分子拍攝的肖像，其中包括迪倫·托馬斯、弗朗西斯·培根和格雷厄姆·格林等人，他們對光影的運用令人嘆為觀止。這些肖像不僅是對拍攝對象的再現，更是對人物內心世界的心理研究。他能夠用一張照片捕捉拍攝對象的精髓，這充分證明了他作為攝影師和敘事者的高超技巧。
布蘭特的風景攝影，尤其是他拍攝的英國海岸線，進一步展現了他獨特的攝影手法。這些拍攝於20世紀50年代和60年代的照片以其超現實主義的情感和鮮明的構圖為特色。布蘭特的風景畫常以明暗對比為特色，海岸線的自然形態在簡潔中顯得近乎抽象。這些影像傳達出一種與世隔絕和永恆的感覺，捕捉了英國風景的原始之美，而很少有攝影師能夠做到這一點。
布蘭特最著名的系列作品之一《裸體透視》（1961年）與他早期的紀實作品截然不同。在這個系列中，布蘭特以鮮明的高對比黑白色調拍攝了裸體女性，運用極端的角度和
Bill Brandt, born on May 2, 1904, in Hamburg, Germany, and later becoming one of Britain’s most influential photographers, remains a towering figure in the world of 20th-century photography. His work is characterized by its exploration of social issues, surrealist sensibilities, and an extraordinary sense of composition and lighting. Brandt’s photography, spanning across documentary, portraiture, and landscape, remains a testament to his keen observational eye and his ability to capture the essence of the British experience. Although he was German by birth, his work is often considered quintessentially British, providing a unique insight into the country’s society, landscapes, and people during pivotal moments in history.Brandt’s early life was deeply influenced by the cultural environment in which he grew up. He was born to a wealthy Anglo-German family, and his early exposure to the arts and travel shaped his future career. During his youth, Brandt suffered from tuberculosis, which led to extended periods of convalescence. It was during this time that his interest in photography grew. In 1929, Brandt moved to Paris and began working with the famed American surrealist photographer Man Ray, an experience that would significantly influence his style. The surrealist movement's emphasis on dreamlike, abstract imagery deeply resonated with Brandt, and he would later incorporate these ideas into his own work, particularly in his later portrait and landscape photography.In 1931, Brandt relocated to England, where he began to document the country’s society and culture. It was during this time that Brandt embarked on a series of social documentary projects, capturing the stark contrasts between Britain’s upper classes and the working poor. His first book, The English at Home (1936), was a powerful exploration of class disparity in Britain, with its photographs offering a glimpse into the everyday lives of both the wealthy and the working class. Brandt's eye for detail, combined with his ability to capture the emotional weight of a moment, made these photographs poignant and enduring documents of British society.Brandt’s work during the 1930s and 1940s focused heavily on the hardships faced by the working class in Britain, particularly during the years leading up to and during World War II. His second book, A Night in London (1938), demonstrated his ability to capture the drama and atmosphere of the city’s nocturnal life. These images, taken at night, were characterized by their high contrast, deep shadows, and dramatic use of light—a technique that would become a hallmark of Brandt’s style. The influence of surrealism is evident in these works, as Brandt often sought to convey the emotional and psychological atmosphere of his subjects rather than simply documenting events.During World War II, Brandt worked as a freelance photographer for the Ministry of Information and other publications, where he documented the effects of the war on Britain’s landscape and its people. His images from this period, particularly his photographs of bomb shelters and families huddling together during air raids, are some of the most iconic images of wartime Britain. These photographs capture not only the physical devastation wrought by the war but also the resilience and stoicism of the British people. Brandt’s ability to evoke empathy in his viewers is evident in these works, as he masterfully balanced the stark reality of war with moments of tenderness and hope.In the post-war years, Brandt’s work took on a more surreal and experimental quality, particularly in his portraiture and landscape photography. His portraits of artists, writers, and intellectuals from the 1940s and 1950s, including figures such as Dylan Thomas, Francis Bacon, and Graham Greene, are striking in their use of light and shadow. These portraits are not merely representations of their subjects but psychological studies that reveal the inner lives of the individuals Brandt photographed. His ability to capture the essence of his subjects with a single image is a testament to his skill as both a photographer and a storyteller.Brandt’s landscape photography, particularly his images of the British coastline, further demonstrated his unique approach to the medium. These photographs, taken in the 1950s and 1960s, are characterized by their surrealist sensibility and stark compositions. Brandt’s landscapes often feature dramatic contrasts between light and dark, with the natural forms of the coastlines appearing almost abstract in their simplicity. These images convey a sense of isolation and timelessness, capturing the raw beauty of the British landscape in a way that few photographers have been able to achieve.One of Brandt’s most famous series, Perspective of Nudes (1961), represents a significant departure from his earlier documentary work. In this series, Brandt photographed the nude female form in stark, high-contrast black and white, using extreme angles and perspectives to create surreal, abstract images. These photographs are notable for their sculptural quality, with the human body appearing almost as part of the landscape itself. Brandt’s use of wide-angle lenses and unusual camera positions distorted the human form, creating images that were both unsettling and beautiful. This series demonstrated Brandt’s willingness to push the boundaries of traditional photography and explore new ways of seeing the world.Throughout his career, Brandt maintained a deep commitment to the art of photography, continually experimenting with new techniques and approaches. His ability to move seamlessly between documentary, portraiture, and abstract photography is a testament to his versatility as an artist. Brandt’s work was not limited by genre or subject matter; rather, he used photography as a means of exploring the human condition and the world around him.In recognition of his contributions to the field of photography, Brandt was awarded numerous accolades throughout his life, including the prestigious title of Commander of the Order of the British Empire (CBE) in 1980. His work has been exhibited in galleries and museums around the world, and his influence on subsequent generations of photographers is undeniable. Brandt’s ability to capture the mood and atmosphere of a scene, combined with his technical skill and innovative use of light, has made him one of the most important photographers of the 20th century.Bill Brandt passed away on December 20, 1983, but his legacy as a photographer endures. His work continues to inspire and challenge viewers, offering a unique perspective on British society, art, and landscape. Brandt’s ability to find beauty and meaning in both the ordinary and the extraordinary is what sets him apart as a true master of photography. Whether capturing the harsh realities of working-class life, the devastation of war, or the serene beauty of the British coastline, Brandt’s photographs resonate with a timeless power that speaks to the core of human experience.In conclusion, Bill Brandt’s contribution to photography is immeasurable. His unique ability to blend documentary realism with surrealist abstraction has left an indelible mark on the art form. Through his lens, we are offered a window into the world—one that is at once familiar and otherworldly, filled with light, shadow, and emotion. Brandt’s work is not just a record of the past but an ongoing conversation about the role of photography in capturing the truth of the human experience. His images remind us of the power of photography to evoke feeling, provoke thought, and, ultimately, to reveal the beauty and complexity of life.
A Swedish Director’s Literary Lens
Jan Troell, left, on the “Everlasting Moments” set. He says he’s not what film companies look for.
At the age of 77 the Swedish director Jan Troell — after a four-decade career that includes a best picture prize at the Berlin Film Festival, a Golden Palm nomination at Cannes and a best picture Oscar nomination — is among the world’s most distinguished filmmakers. He is also practically invisible in the United States.
Trailer: 'Everlasting Moments'
Maria Heiskanen and Mikael Persbrandt in “Everlasting Moments.”
Liv Ullmann and Max Von Sydow in Mr. Troell’s “Emigrants,” from 1971, which was up for an Oscar for best picture.
Only two of his films, the well-regarded 1996 “Hamsun,” about the Norwegian novelist Knut Hamsun, and “Hurricane,” a misfire from his brief sojourn in Hollywood in the late 1970s, are available here on DVD. His masterpieces — “The Emigrants,” “The New Land,” “The Flight of the Eagle” — have not been in print since the days of the laser disc.
It’s a state of affairs that can drive his American fans to distraction but that does not appear to hold any particular interest for Mr. Troell.
“I haven’t really thought about that,” Mr. Troell (pronounced tro-el) said by phone from his home near Malmo recently before politely moving the discussion to more relevant topics, like the opening in New York and Los Angeles on Friday of his latest movie, “Everlasting Moments,” a 2009 Golden Globe nominee for best foreign-language film. It will be the first Troell movie released in the United States in 12 years, but who’s counting?
Mr. Troell’s relative obscurity here might seem surprising given the splash he made in America with his third film, “The Emigrants,” in 1972. The story of 19th-century farmers making an epic journey from southern Sweden to the forests of Minnesota earned four Oscar nominations that year: for best adapted screenplay, director, actress (Liv Ullmann) and picture. It is still one of only eight foreign-language films to get a best-picture nod.
But possible reasons for his low profile, beyond the natural reserve evident in conversation, come to mind easily. There’s the Ingmar Bergman factor, for one thing. Perhaps there has been room in the American consciousness for only one 20th-century Swedish cinematic genius. Mr. Troell, of course, was quick to dismiss the notion that he had worked in his countryman’s shadow.
“I would prefer to say I’ve been in the sun of Bergman,” he said. “His films have always inspired me.”
And Mr. Troell has not been prolific, making 12 features in 43 years. He said that with documentaries and television films he had worked more or less steadily but acknowledged that his pace was deliberate.
“It has taken a very long time for several of the films to be financed,” he said, “mainly because I have not been what film companies usually are looking for. And I’ve been quite expensive sometimes too.”
That comes with the territory when you have a fondness for making long, meticulously designed period dramas like “The Emigrants” and its sequel, “The New Land,” both three hours plus, or the two-and-a-half-hour polar exploration story “The Flight of the Eagle,” set in 1897 and requiring the re-creation of a balloon flight over the Arctic ice cap. There are no car chases or costumed superheroes here, though Mr. Troell’s avoidance of mass-market material is paired with an extraordinarily accessible, straightforward narrative style.
“Everlasting Moments” is a period film too, set around World War I, though at 131 minutes it is practically a short by Troell standards. It differs from his earlier American releases in being primarily a domestic drama, tracking the life of a poor Malmo family.
But the themes of heroism and fearless exploration that run through Mr. Troell’s work are present in the character of the struggling wife and mother Maria Larsson, played by the Finnish actress Maria Heiskanen. Like the emigrant Karl-Oskar, the balloonist S. A. Andree and the aviatrix Elsa Andersson (in the 2001 “As White as in Snow,” never released in America), Maria is an adventurer, even if she travels nowhere. Her vehicle is the bulky camera she wins in a raffle.
For Mr. Troell the story of how photography changes Maria’s life was doubly appealing: the character was based on his wife’s great-aunt, and her journey mirrored his own.
“I started when I was 14,” he said. “I was given a used camera almost the same as the one she uses, 9-by-12-centimeter glass plate. For me it was a similar adventure as it must have been for Maria, the miracle, the mystery of the images coming in the red light” of the darkroom.
Mr. Troell worked as a still photographer and a schoolteacher before breaking into movies, and it’s tempting to see the mark of those professions in his filmmaking style: humanist, literary, cerebral yet fast moving, with a constant emphasis on clear storytelling.
It’s an aesthetic, and an ethos, summed up by the photography studio owner played by Jesper Christensen in “Everlasting Moments”: “What do you see as you look through the camera, Maria? You see a world, there to be explored — to preserve, to describe. Those who’ve seen it — they cannot merely close their eyes. You can’t turn back."
There are more explorations in Mr. Troell’s future, despite some issues with hearing and memory. (Asked what movies he’d liked recently, he said the titles rarely stayed in his head, but then quickly summoned up “Lars and the Real Girl” — “Really unusual” — and “Frozen River.”)
His new project, a script he is composing with the Danish screenwriter Klaus Rifbjerg, does not sound destined to raise his profile in the United States. It’s another period drama, set in Sweden during World War II, and its protagonist, the real-life anti-Nazi activist Torgny Segerstedt, is the most anachronistic of heroes: a crusading newspaper editor.
As if that’s not enough, Mr. Troell threw in a last notion: “I’m thinking of making this one in black and white.”
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