想像的共同體8：19世紀電影簡史19th_century_in_film；Nadar的照片萬象和1865年的自拍影片– Revolving, self-portrait by French photographer Nadar.費利克斯·納達爾 (Félix Nadar 1900)；說不盡的萬國創造故事；《當年我拍照》When I Was a Photographer (Quand j'étais photographe), ；萬人感動時.......
https://en.wikipedia.org/wiki/List_of_years_in_film#19th_century_in_film
這是納達爾聰明詼諧的回憶錄的第一個完整英文翻譯，其中的一系列小插曲記錄了他早期攝影的經歷。
費利克斯·納達爾 (Félix Nadar) 是十九世紀著名的攝影師，也是作家、演員、漫畫家、發明家和氣球駕駛員，他在 1900 年八十歲時出版了這本攝影生涯的回憶錄。這本充滿智慧和風趣的書由一系列小插圖組成（我們可以將它們視為一系列「書面照片」），講述了納達爾早年攝影經歷的故事、令人難忘的人物素描以及對歷史的思考。這是一本經典著作，從華特·班雅明到羅莎琳德·克勞斯等作家都曾引用過它。這是其第一個也是唯一一個完整的英文翻譯。
在《當我還是攝影師》一書中，納達爾向我們講述了他深入巴黎下水道和地下墓穴的經歷，在那裡他嘗試使用人工照明，以及他乘坐熱氣球飛上巴黎上空，拍攝了第一張航拍照片的經歷。他講述了 1870 年至 1871 年巴黎圍城期間的「郵政攝影」——一項涉及微縮圖像和信鴿的驚人計劃。他描述了攝影中的技術創新和重要人物，並對社會和文化進行了深思熟慮；但他也以有趣的方式描寫了巴爾扎克對被拍照的恐懼、照片對著名謀殺案的影響以及男性和女性客戶之間的差異等問題。納達爾的回憶錄和他的照片一樣，捕捉了那個消失時代的痕跡。
Zhè shì nà dá'ěr cōngmíng huīxié de
The first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.
Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of “written photographs”), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.
In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his “postal photography” during the 1870-1871 Siege of Paris—an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.
When I Was a Photographer
The first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.
Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of “written photographs”), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.
In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his “postal photography” during the 1870-1871 Siege of Paris—an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.
1865 年－法國攝影師納達爾的旋轉自畫像。 1865 年左右，他創作了一系列自畫像，共 12 幅，展現了他靜坐在椅子上的不同角度。除了一幀中的微笑外，他的夾克的褶皺或一根頭髮在不同角度之間似乎都沒有變化。這幅肖像畫可以被視為馬雷和邁布里奇十多年後開始嘗試的計時攝影術的前身。由於這個序列圍繞著空間而不是時間展開，它與大約 135 年後《駭客任務》所推廣的子彈時間效果更加相關。目前尚不清楚拍攝過程中是否使用了多台攝影機，但拍攝效果肯定很好。
- 1865 – Revolving, self-portrait by French photographer Nadar. Around 1865 he produced this series of self-portraits consisting of 12 frames showing different angles of him sitting still in a chair. Except for a smile in 1 frame, not even a fold in his jacket or a single hair seems to change between the different angles. The portrait could be regarded as a predecessor to the chronophotography which Marey and Muybridge started to experiment with more than 10 years later. As the sequence revolves around space rather than time it is even more related to the bullet-time effect popularized by The Matrix about 135 years later. There is no clue if more than one camera was used in the shoot, but it is certainly well-executed.
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