Peter Fetterman: 收藏是发现自我之旅

“A searing sun rose over the range and I knew it was to be a hot day. Fortunately I had just arrived at a location where an exciting composition was unfolding. The red-golden light struck the dunes and their crests and became slightly diffuse with the sand gently blowing in the early wind. Just then, almost magically I saw an image become substance. The light of sunrise traced a perfect line down a dune that alternatively glowed with the light and receded in shadow”~ Ansel Adams

“灼热的太阳从山脉上空升起，我知道这将是一个炎热的一天。幸运的是，我刚刚到达一个令人兴奋的构图展开的地方。红金色的光照射在沙丘和它们的顶部，随着被晨风轻轻吹过的沙子变得略微分散。就在那时，我神奇地看到一个图像变成了实体。日出的光线沿着沙丘划出一条完美的线，沙丘时而发光，时而隐没在阴影中”

--Ansel Adams

Peter Fetterman 藏品 Ansel Adams Sand Dunes, Sunrise, Death Valley National Monument

Death Valley is the lowest, driest and hottest area in North America. Located about 150 miles west of Las Vegas near the border of California and Nevada it straddles an area of about 300 square miles. A land of extremes and contrasts. But it was here that Ansel created one of his most striking and special photographs.

It is really an abstract image, even though it is taken from real life. Because of his genius eye, Ansel managed to keep the amount of lights and darks fairly equal and used naturally angled lines created by shadows and highlights in the photograph to pull the viewer’s eyes through the entire image.

死亡谷是北美最低、最干燥、最热的地区。它位于拉斯维加斯以西约 150 英里处，靠近加利福尼亚和内华达州的边界，横跨约 300 平方英里的区域。一个充满极端和对比的土地。但正是在这里，安塞尔创作了他最引人注目和最特别的照片之一。

它实际上是一个抽象的图像，即使它来自现实生活。由于他的天才之眼，安塞尔设法使明暗保持相当相等，并使用照片中由阴影和高光产生的自然倾斜的线条来吸引观众的视线通过整个图像。

This is truly a case of a great photographer being at the right place at the right time and in a prime mental state to use their practiced craft to create magic.

这确实是一个伟大的摄影师在正确的时间出现在正确的地点，并处于最佳的精神状态，利用他们熟练的手艺创造魔法的案例。

我花了生命中大部分的时间来查看图像。最初，他们是在黑暗的电影院里动人的图像。我记得第一次看电影是13岁在Leicester Square Odeon看的戴维·利恩的《阿拉伯的劳伦斯》。同年，重播的约翰·福特的《愤怒的葡萄》 让我心碎。很快我被书中静态的图像吸引了，我总是尝试在图书馆里找到更多。

I have spent a great part of my life looking at images. Initially, these were " moving " images in a darkened cinema. I remember being first transported by David Lean's Lawrence of Arabia in the Leicester Square Odeon when I was 13 years old. Then, that same year, having my heart broken by a rescreening of John Ford's The Grapes of Wrath at the British Film Institute on the South Bank. Soon I was devouring " still " images in books, almost living in libraries looking to discover more ...

Peter Fetterman 藏品

每次“收藏者”进入我的轨道时我都得提醒自己。对于我来说，成为一个收藏者，不得不出生在一个镀金年代，或者可以继承巨额财富的遗产。我什么都没有。我的父母双双都是在13岁便辍学，挣扎着养活家庭。在我们小小的公寓里没有书也没有任何的艺术。我在小小的房间听收音机，学习怎样口齿伶俐，认识到有一个很大的世界需要我去探索。不知怎么的，我获得让我去大学的奖学金，就像我这个年代的人，我想我逃离的路有可能是依靠艺术的电影，文学时尚，音乐，设计，艺术，摄影。我们都是有梦想的人。

I have to pinch myself every time the word " collector " enters my orbit . To me , to become a collector one had to be born into a gilded age or be part of a distinguished heritage of enormous wealth: The Fricks, The Mellons, The Rockefellers. Nothing in my background could have prepared me for this life. My parents, sweet souls, both left school at 13 years old and struggled all their lives to make a living and bring up a family. There were no books nor any art in our small apartment. I listened all the time to a radio in my tiny room and learnt how to articulate sentences and realised there was a bigger world out that there I needed to explore. Somehow, I managed to get a scholarship to go to university and, like many of my generation who came of age in the 1960s, I thought perhaps that my route of escape might lie in the arts - film, theatre, literature, fashion, music, design, art, photography. We were all dreamers then.

Peter Fetterman 藏品

当我看这些照片的时候，首先也是最重要的，他们唤起了我和他们制作者关系的记忆。在这些记忆当中我第一次发现了，一张特别的图像，他对我产生的深刻的影响：被一种强迫征服，法语美丽地称之为.....疯狂的爱——来发现一条获得他们的方法，而不考虑无论是否有钱这样做。

When I look at many of these images, first and foremost, they evoke memories of my relationships with their makers. Then there are the memories of the time I first discovered a special image and the profound effect it had on me: overcome by a compulsion - what the French so beautifully call L'amour fou, crazy love - to find a way to acquire it regardless of whether I had enough money to do so.

Peter Fetterman 藏品

一起来看看我的收藏品，我不知道是否有任何的韵律或者原因，或者是否这些被一个主题关联起来。我总是相信收藏是发现自我之旅。这些图片反映了我生活当中快乐和悲伤的不同阶段，也希望能展示人性，自然，美丽的一个方面。但这不是我该说的。

Looking at my collection together, I don't know if there is any rhyme or reason to it or if there is any thread of a theme that connects the images. I have always just believed that collecting is a journey of self-discovery. these images reflect different stages of joy or sadness in my own life. I would hope that they also show a respect for humanity and nature and beauty. But that is not for me to say.

Peter Fetterman 藏品

《The Power Of The Photography》诞生在难以置信的全球悲伤痛苦，世界空前的焦虑的时代。被迫的封闭让很多人有了时间来反省自己。安静让我有时间去思考这些图片对我意味着什么，像是自愈一样，我开始每天在我画廊的博客里分享它们。我想做一周之后便停止，因为没有人会真正的关注它们。完全让我惊讶的是，我收到了关于图像藏品的反馈，看起来帮助到了人们，为陌生的人们在这不真实的阶段里引路。这真的是一个很谦卑的经历，我发现不能再停止下来。

This book was born out of a time of incredible global sadness and pain and unprecedented world anxiety. A forced lockdown allowed for a time of self-reflection for many of us. This stillness gave me time to think about what these images meant to me and, almost for self-therapy, I started to share them on a daily blog from my gallery. I thought I would do a week's worth and then stop because no one else would really care. To my complete surprise, I received feedback that the images and recollections seemed to be helping people, complete strangers, navigate these surreal times. It was a truly humbling experience. So, I continued and then found I couldn't stop...

我感到很幸运短暂地保管了这些图像。现在是时间放飞他们，让他们给新的收藏者力量。

I feel so fortunate to have been a temporary custodian of these images and now is the time to let them fly away and bestow their power on new recipients.

信息来源：Peter Fetterman Gallery