上海户口迁移:肖像摄影大师尤瑟夫·卡希作品选

本帖介绍我最喜欢的人像摄影大师的作品，所有图片均来源于网络，我尽量选与我所见到的原作（或国外精美印刷品）相近的数字图片，但有些片子实在难找，为了尽量于本帖多加收录，有些片子因上传者扫描制作的缘故呈现的质量较差，在没有找到更好的片子之前也只能将就点了，在此先说明下。

尤瑟夫·卡希（Yousuf Karsh；1908年12月23日 - 2002年7月13日） 出生于今土耳其马尔丁市的一个亚美尼亚人的基督教家庭。

在1915年到1918年间，奥斯曼帝国政府针对其国内的亚美尼亚人进行亚美尼亚种族大屠杀。因受到迫害，在1922年全家逃离到叙利亚。两年后，卡希独自来到加拿大，住在其舅父位在魁北克舍布鲁克的家。舅父在当地是一名颇有地位的摄影师。

卡希在暑假时总在暗房帮舅父的忙。17岁生日时，舅父送给卡希一台照相机，而卡希对摄影兴趣日益浓厚，因此舅父把他送到波士顿的友人约翰·嘉罗那去学习。

1933年，卡希在渥太华开了一间小型照相馆，之后卡希替加拿大总督贝斯巴勒伯爵（The Earl of Bessborough）拍照，很快就出了名，两年后，获得加拿大官方摄影师职位。

卡希成名后，在渥太华专门拍摄人像。2002年7月13日，卡希逝世于波士顿，埋葬于渥太华，享年93岁。


此主题相关图片如下：
  
Yousuf Karsh (1908-2002) is one of the masters of 20th century photography. His body of work includes portraits of statesmen, artists, musicians, authors, scientists, and men and women of accomplishment. His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity.

Official site of photographer Yousuf Karsh:
http://www.karsh.org

Portraits:
http://www.karsh.org/#/the_work/portraits/



此主题相关图片如下：

优素福·卡什自拍像，1933年6月
此照片摄于1941年12月, 是卡什的成名之作. 时年33岁. 在允许拍照的时间里,丘吉尔总叼着一支雪茄, 神情闲散. 与人们熟知的坚毅, 自信, 镇定不相符, 于是卡什走近 丘吉尔, 一把扯掉了他嘴上的雪茄. 丘吉尔正要发怒, 卡什按下了快门. 就这样, 诞生了一幅世界名作。



Winston Churchill, 1941

My portrait of Winston Churchill changed my life. I knew after I had taken it that it was an important picture, but I could hardly have dreamed that it would become one of the most widely reproduced images in the history of photography. In 1941, Churchill visited first Washington and then Ottawa. The Prime Minister, Mackenzie King, invited me to be present. After the electrifying speech, I waited in the Speaker’s Chamber where, the evening before, I had set up my lights and camera. The Prime Minister, arm-in-arm with Churchill and followed by his entourage, started to lead him into the room. I switched on my floodlights; a surprised Churchill growled, “What’s this, what’s this?” No one had the courage to explain. I timorously stepped forward and said, “Sir, I hope I will be fortunate enough to make a portrait worthy of this historic occasion.” He glanced at me and demanded, “Why was I not told?” When his entourage began to laugh, this hardly helped matters for me. Churchill lit a fresh cigar, puffed at it with a mischievous air, and then magnanimously relented. “You may take one.” Churchill’s cigar was ever present. I held out an ashtray, but he would not dispose of it. I went back to my camera and made sure that everything was all right technically. I waited; he continued to chomp vigorously at his cigar. I waited. Then I stepped toward him and, without premeditation, but ever so respectfully, I said, “Forgive me, sir,” and plucked the cigar out of his mouth. By the time I got back to my camera, he looked so belligerent he could have devoured me. It was at that instant that I took the photograph.



Pablo Picasso, 1954

The maestro’s villa was a photographer’s nightmare, with his boisterous children bicycling through vast rooms already crowded with canvases. I eagerly accepted Picasso’s alternate suggestion to meet later in Vallauris at his ceramic gallery. “He will never be here,” the gallery owner commented, when my assistant and two hundred pounds of equipment arrived. “He says the same thing to every photographer.” To everyone’s amazement, the “old lion” not only kept his photographic appointment with me but was prompt and wore a new shirt. He could partially view himself in my large format lens and intuitively moved to complete the composition.



Ernest Hemingway, 1957

I expected to meet in the author a composite of the heroes of his novels. Instead, in 1957, at his home Finca Vigía, near Havana, I found a man of peculiar gentleness, the shyest man I ever photographed - a man cruelly battered by life, but seemingly invincible. He was still suffering from the effects of a plane accident that occurred during his fourth safari to Africa. I had gone the evening before to La Floridita, Hemingway’s favorite bar, to do my “homework” and sample his favorite concoction, the daiquiri. But one can be overprepared! When, at nine the next morning, Hemingway called from the kitchen, “What will you have to drink?” my reply was, I thought, letter-perfect: “Daiquiri, sir.” “Good God, Karsh,” Hemingway remonstrated, “at this hour of the day!”

英国文豪肖伯纳的作品不但有深刻的内涵, 而且常有辛辣的嘲讽. 这幅肖像 抓住了作家所特有的锐利眼神. 卡什说:" 人物内在的思想, 精神和灵魂, 有时会在一瞬之间, 通过他的眼睛, 双手和体态显露出来--这就是需要紧紧抓住的，稍纵即逝的最重要的瞬间。



George Bernard Shaw, 1943

Leon Edel, Henry James’s biographer, has remarked that Shaw’s “way of meeting people was to charm them by being charmed himself.” Shaw came bursting into the room with the energy of a young man, though he was almost ninety years old. His manner, his penetrating old eyes, his flashing wit, and his bristling beard were all designed to awe me; in the beginning they succeeded. He obviously loved to act, and assumed the role of harmless Mephistopheles and devil’s advocate. He said I might make a good picture of him - but none as good as the picture he had seen at a recent dinner party where he glimpsed, over the shoulder of his hostess, a perfect portrait of himself: “Cruel, you understand, a diabolical caricature, but absolutely true.” He pushed by the lady, approached the living image, and found he was looking into a mirror! The old man peered at me quizzically to see if I appreciated his little joke. It was then that I caught him in my portrait.




Jean Sibelius, 1949

I arrived at Sibelius’s home “Ainola,” named for his wife Aino, laden with gifts from his admirers - an inscribed manuscript from composer Ralph Vaughan Williams, a warm letter from Olin Downes, the celebrated music critic of the New York Times, a box of his favorite cigars and a bottle of old cognac from the Canadian High Commissioner in London. This last we shared with little Finnish cookies and coffee. His daughter interpreted for the straight-backed patriarch of eighty-four, although there was such a meeting of minds that words became scarcely necessary.

The structure of his face reminded me of carved granite, yet with infinite warmth and humanity. This photograph was one of the last taken. He was visibly moved as I told him how the Finnish workers, in their northern Canadian logging camps, doubled their wartime output when his Finlandia was played for them.


欣赏卡什的名作：《爱因斯坦肖像》

狄源仓　/文

　　尤什福·卡什（Yousuf Karsh）生于一九〇八年，原籍亚美尼亚，十六岁时移居加拿大。半个世纪以来，国际上许许多多政治家、科学家、艺术家纷纷出现在他的镜头之前，卡什为他们留下了辉煌夺目的肖像。这幅为科学家爱因斯坦拍摄的肖像是他的名作。

　　卡什所摄肖像的第一个特点是非常真实。从这一点来看，应该把他归到写实派摄影家之列。你看，他把这位老科学家脸上的皱纹，那丝丝白发表现得一清二楚，纤豪毕露。卡什的美学观有本质的区别。由于卡什能够突破肤浅的外形美的束缚，深入到人物内心世界中去探索他们的性格美和精神美，因此，不论对于什么样的人物，他都能拍出神采奕奕、形神兼备的肖像作品。

　　不拘一格地用光是卡什肖像的第二个特点。一般的商业人像，在灯光运用上，往往有几套固定的格式，久而久之，就必然会拍出许多给人以千篇一律之感的作品。卡什的用光，却能突破这些陈规俗套，戏剧性地突出各种不同人物的不同特色。在对爱因斯坦的用光上，卡什把重点放在老科学家那一头银发和那一对善于思考的眼睛上，尤其是从右上方逆射而来的那一盏灯用得十分巧妙：既突出表现了飘逸的白发，又区分了人物的下颚和右肩，使肖像产生突出于画面的立体感。

　　卡什人物肖像的第三个特点是喜欢把人物的双手组织到肖像作品中去。他认为“手”是仅次于“脸”的重要形象，有助于刻画人物的性格，表露他们的思想感情和所从事的特点。双手的出现，还有助于破除肖像照片的呆板和单调。

　　卡什肖像的第四个特点是影调优美、层次丰富、影纹清晰、质感强烈。这些优良品质，主要来自他惯用的大相机和大底片。卡什喜欢采用结影清晰的硬镜头，底片又往往大到8×10英寸，拍摄时则多用小光圈。

　　现已年届耄耋的卡什先生仍在孜孜不倦地为世界各国的月名流传神写照。他说：“每一个面孔，都自有其魅力。对我来说，每一张新的面孔，都意味着一次新的探索，同时也是一次新的挑战！”（完）

摘自新浪论坛 责任编辑：关星


此主题相关图片如下：


Albert Einstein, 1948

At Princeton’s Institute for Advanced Study, I found Einstein a simple, kindly, almost childlike man, too great for any of the postures of eminence. One did not have to understand his science to feel the power of his mind or the force of his personality. He spoke sadly, yet serenely, as one who had looked into the universe, far past mankind’s small affairs. When I asked him what the world would be like were another atomic bomb to be dropped, he replied wearily, “Alas, we will no longer be able to hear the music of Mozart.”



Audrey Hepburn, 1956

The French novelist Colette picked her out of a ballet lineup to play Gigi on stage, and her career was launched. When I photographed her in Hollywood and commented on her quality of sophisticated vulnerability, she told me of her harrowing experiences during the Second World War. Years later, in the Kremlin, Chairman Brezhnev agreed to sit for me only if I made him as beautiful as Audrey Hepburn.
此主题相关图片如下：


General Dwight Eisenhower

As the Supreme Commander of the Allied Expeditionary Forces, Eisenhower appeared confident and imperturbable, a man certain of his course. Having witnessed intimately the tragedy of war, he still had strong faith and trust in mankind. When he saw a print of this photograph, he wrote to me of his “belief that through universal understanding and knowledge there is some hope that order and logic can gradually replace chaos and hysteria in the world.”

I later photographed Eisenhower as President, and later still, in retirement at Gettysburg. With a twinkle in his eye, he watched my reaction to his new hobby, oil painting. On his easel was his painting of Sir Winston Churchill, and my portrait of the great man was propped up beside it.

此主题相关图片如下：


Jessye Norman, 1990

One moment she was a disciplined goddess and diva, adept at creating before my camera the illusion of imposing majesty befitting the operatic heroines she portrays. The next, relaxed and at rest between photographs, she was disarmingly girlish, enthusiastic, and free of prima donna pretense. She spoke of her magnificent voice almost as a separate entity - a unique God-given gift - to be cared for, protected, and, when necessary, mollified.




Martha Graham, 1948

Upon arriving at Miss Graham’s New York apartment in 1948 I was quite taken aback, though impressed, by the stark simplicity with which she had chosen to surround herself… Then I looked up to the ceiling and it seemed only a few inches above my head. No one, not even Martha Graham could dance in such a place. Compromise sometimes must be the stuff of which pictures are made. So, rather hopelessly, I sat Miss Graham on a low stool and asked her to assume various attitudes as if she had the space of a great stage around her. Amazingly enough, this restricted posture presented no problem, such perfect control had she over her body.




Helen Keller with Polly Thompson, 1948

On first looking into her blind but seeing eyes, I said to myself of this woman who had no sight or hearing since the age of three, “Her light comes from within.” When we met, she placed her marvelously sensitive fingers on my face. This was, for me, an emotional experience; I sensed she already knew me. Her faithful companion, Polly Thompson, dialed Braille into her palm. Helen Keller’s kindness and understanding, her alert mind, awed me. I told her this was not the first time we had met, for I knew her through her writing. Among the earliest articles I attempted to read while learning English was her “How to Appreciate the Beauty of Sunset.” “Now, having met you in person,” I said, “I will no longer think of you in terms of sunset but sunrise.” She quickly replied, “How I wish that mankind would take the sunrise for their slogan and leave the shadows of sunset behind them.”


Jacqueline Kennedy, 1957

Widowhood and adversity had not yet touched the glamorous young wife of the handsome Senator from Massachusetts. Our meeting was at Hammersmith, her mother’s home in Newport. I photographed her against a Coromandel screen that complemented her dark beauty. Weeks later, in New York, she saw me walking down Fifth Avenue and rushed toward me to inquire breathlessly about her photographs. Our last meeting was shortly before her untimely death, when she came to my exhibition “American Legends.” She stood alone at the entrance, her quiet presence penetrating the crowd.



Grace Kelly

The animated movie star welcomed me to her New York apartment in blue jeans, with her hair in curlers! Newly engaged to Rainier, the Prince of Monaco, she was in the throes of preparing for her departure for her new life far from the Hollywood sound stages. A few moments later, after running a comb through her hair and quickly changing her clothes, the beautiful woman, and future Serene Highness, emerged.

My portrait of the royal couple in cameo profile taken that same day would later be used as the official photograph and stamp of Monaco.


Fidel Castro, 1971

I arrived in Havana on the twenty-sixth of July, Cuba’s national holiday, in time to hear this charismatic speaker address thousands of people in a rousing endorsement of the benefits of the Revolution. It was, for Castro, a short speech-two-and-a-half hours instead of his customary six. For the next three days, my companion and tour guide was Celia Sanchez, Cuba’s wiry, energetic Secretary of State. From the three sites Ms. Sanchez offered for photography, I chose a simple ceremonial room, its stark walls and bookshelves suggesting a barracks, which turned out to be Castro’s favorite office.

Not until an anxiety-filled hour before my scheduled departure did the Foreign Office confirm that Castro was ready. Dressed in army fatigues, looking grave and tired, Castro shook my hand warmly. Apologizing for the delay, he removed his belt and pistol and placed them beside him with a weary gesture. Our photographic session lasted three-and-a-half hours, punctuated by refreshments of Cuban rum and Coke and shared memories of the famous author and beloved former Cuban resident, Ernest Hemingway.

[1]