自然主义摄影

　　Naturalistic Photography

　　1899年，摄影师彼得·亨利·爱默生针对绘画主义的弱点，发表了一篇名为《自然主义摄影》的论文，将绘画主义摄影批评为碎片化的摄影，提倡摄影师回归自然进行创作灵感。他认为自然是艺术的起点和终点，只有最接近自然、最接近自然的艺术才是最高的艺术。他说，没有任何艺术比摄影更准确、更细致、更忠于自然。这所学校的另一位大师a·l·帕乔(a. l. paccio)说得更清楚:“艺术应该留给艺术家。”就我们摄影而言，没有什么可以依赖于艺术。我们应该从事独立创作。”

　　In 1899, photographer Peter Henry Emerson published a paper called "naturalism photography" aiming at the weakness of painting, criticizing painting photography as fragmented photography, and advocating that photographers return to nature for creative inspiration. He thinks that nature is the starting point and end point of art, and only the art closest to nature and nature is the highest art. He said that no art is more accurate, more detailed and more loyal to nature than photography. Another master of the school, A. L. paccio, said more clearly: "art should be left to artists." As far as our photography is concerned, nothing can depend on art. We should be independent. "

　　可以看出，这种艺术主张是对绘画的一种反应，它促使人们将摄影从学院派的束缚中解放出来，对摄影的特性得到充分的发挥起到了促进作用。

　　It can be seen that this kind of artistic idea is a response to painting. It urges people to liberate photography from the shackles of the academic school, and promotes the full play of the characteristics of photography.

　　这类小说的主题大多是自然风景和社会生活。

　　The themes of these novels are mostly natural scenery and social life.

　　自然主义摄影满足于描述表面现实的“绝对”现实和现实的细节，而忽略了对现实本质的挖掘和对表面对象的提取。即不注重艺术创作的典型性和艺术形象的典型性。因此，它本质上是现实主义的庸俗化。有时它会导致对现实的扭曲。

　　Naturalistic photography is satisfied with describing the "absolute" reality and the details of reality, but neglects the mining of the essence of reality and the extraction of surface objects. That is, it does not pay attention to the typicality of artistic creation and artistic image. Therefore, it is essentially the vulgarization of realism. Sometimes it leads to distortion of reality.

　　德韦森(1856-1930)、威尔金森(1857-1921)、格尔(?-1906)、scratch(1856-?)、sutcliffe(1859-1940)等。

　　Dweison (1856-1930), Wilkinson (1857-1921), gerr (? - 1906), scratch (1856 -?), Sutcliffe (1859-1940), etc.