哥伦比亚瀑布景观 - 美国大都会艺术博物馆展品查阅

品名（中）	哥伦比亚瀑布景观
品名（英）	View on the Columbia, Cascades
入馆年号	1979年，1979.622
策展部门	摄影（Photographs）
创作者	Carleton E. Watkins【1829 至 1916】【美国人】
创作年份	公元 1867
创作地区
分类	照片（Photographs）
尺寸	40.0 x 52.4 厘米 (15 3/4 x 20 5/8 英寸)
介绍（中）	从19世纪50年代开始，摄影师们找到了一种方法，在不放弃威廉·亨利·福克斯·塔尔博特（William Henry Fox Talbot）的负片/正片摄影过程中固有的再现性的情况下，实现了银版照片的清晰度：他们用玻璃代替了纸质负片，在玻璃上涂上一层薄薄的湿感光胶棉（溶于乙醚的棉棉）。对于大型景观工程，如俄勒冈州哥伦比亚河沿岸的沃特金斯，这一过程的物理要求非常高。由于目前还没有实际的放大方法，沃特金斯的玻璃底片必须按照他希望的尺寸，他的相机也必须足够大，以容纳照片。此外，玻璃底片必须在火棉胶保持粘性的情况下进行涂层、曝光和显影，这就要求摄影师在探索美国西部的原始地形时运送一个旅行暗室。沃特金斯非凡的"猛犸"版画的晶莹剔透和经典正直，证明了他对工艺的精湛掌握和精湛的艺术。
介绍（英）	Beginning in the 1850s, photographers found a way to achieve the clarity of daguerreotypes without giving up the reproducibility inherent in William Henry Fox Talbot's negative/positive photographic process: they replaced the paper negative with glass, which they coated with a thin layer of wet photosensitive collodion (guncotton dissolved in ether). For large-format landscape work such as Watkins produced along the Columbia River in Oregon, the physical demands of this process were great. Since there was as yet no practical means of enlarging, Watkins's glass negatives had to be as large as he wished the prints to be, and his camera large enough to accommodate them. Furthermore, the glass negatives had to be coated, exposed, and developed while the collodion remained tacky, requiring the photographer to transport a traveling darkroom as he explored the virgin terrain of the American West. The crystalline clarity and classic probity of Watkins's remarkable "mammoth" prints attest to his virtuosic mastery of the process and his consummate artistry.