there was a desire to see it in color.

有想看它的顏色。

The new medium was hyper realistic, but without color, incomplete.

新媒體是超現實的，但沒有色彩，不完整。

Hand-coloring photographs using paints or dyes began in Europe.

用顏料或染料對照片進行手工著色始於歐洲。

But the best hand-colored photographs of the 19th century came from Japan.

但19世紀最好的手繪照片來自日本。

For over 200 years, almost no one outside of Japan knew what the country looked like.

200多年來，日本以外的人幾乎沒有人知道這個國家的模樣。

The government closed the borders in 1635.

1635年，政府關閉了邊境。

To halt growing colonial influence – mostly from Catholic missionaries – that took hold

阻止日益增長的殖民影響--主要是來自天主教傳教士--的影響。

in the late 1500s.

在15世紀末。

Leaving the country was forbidden.

禁止出國。

Those who tried were executed.

審判的人都被處決了。

And, with some exceptions, contact with the outside world was cut off for two centuries.

而且，除了一些例外，與外界的聯繫被切斷了兩個世紀。

But in 1854, a US naval expedition of warships, led by Commodore Matthew Perry, forced Japan

但在1854年，一支由馬修-佩裡海軍准將率領的美國海軍戰艦遠征隊，迫使日

to open its ports.

以打開其端口。

Leading to an influx of travelers and traders from Europe and North America.

導致歐洲和北美的旅行者和商人大量湧入。

Foreigners coming to Japan brought their clothes.

來日本的外國人都帶著衣服。

Their culture.

他們的文化。

And their cameras.

還有他們的相機。

Photography was relatively new at the time, and became a lucrative trade for foreigners

攝影在當時是比較新的行業，也成了外國人賺錢的行業

in newly-opened Japan.

在新開的日本。

Starting in the 1860s, photographers – mostly European, but some Japanese – documented

從19世紀60年代開始，攝影師--大部分是歐洲人，但也有一些日本人--記錄了歐洲人的生活。

Japan's landscape and people.

日本的風景和人。

Creating collectible and highly-prized images of Japanese culture.

創作出具有收藏價值和高價值的日本文化形象。

Photography played very well into this kind of desire to learn more about Japan.

攝影在這種想了解日本的願望中起到了很好的作用。

This sense, I think, of Japan as being, you know, formerly kind of forbidden and beyond

這種感覺，我認為，日本是，你知道，以前是一種禁忌，超越了。

reach, and all of a sudden now somehow knowable.

伸手可及，現在突然間又有了某種程度的瞭解。

The technology of photography really played into that, because

攝影技術確實起到了作用，因為

Photography studios flourished in port cities like Yokohama.

在橫濱這樣的港口城市，攝影工作室非常興盛。

And as the medium became more popular, cameras began appearing in ukiyo-e – traditional

而隨著媒介的普及，相機開始出現在浮世繪中--傳統的。

Japanese woodblock prints – too.

日本木版畫--也是。

In this 1878 ukiyo-e print, a wealthy Japanese woman admires photographic portraits.

在這幅1878年的浮世繪印刷品中，一位富有的日本婦女正在欣賞攝影肖像。

With a stamp on the back indicating the studio of Uchida Kuichi.

背面有內田久一工作室的印章。

A well-known Japanese photographer at the time.

當時日本著名的攝影家。

But it was a foreigner, Italian-English Felice Beato,

但那是一個外國人，意大利英語的Felice Beato。

that made expert-quality hand-coloring the defining characteristic of this era of Japanese

在這個時代，日本手繪的專業品質成為了這個時代的特徵。

photography.

攝影：

He was the first to really take advantage of color photography on a commercial scale

他是第一個真正利用商業規模的彩色攝影的人。

in Japan.

在日本。

And what he was able to do was draw on this large body of highly-trained artisans from

而他能做的就是從這一大批訓練有素的工匠身上汲取靈感

the ukiyo-e, the woodblock print industry.

浮世繪，木版畫行業。

Beato, and eventually other foreign photographers in Japan, hired fine artists as their apprentices

Beato，以及後來日本的其他外國攝影師，都聘請了美術家作為他們的學徒。

to carefully hand-color photographic prints.

以精心手工著色的攝影版畫。

Tapping into an expertise of patient precision in the application of color onto flat images

在平面影像上應用色彩的過程中，挖掘患者精確的專業知識

that had been in place in Japan for generations.

在日本世代相傳的。

Unlike many hand-colored photographs in Europe and North America, which often ended up looking

不像歐美的很多手繪照片，往往最後看起來是

more like paintings than photographs,

更像繪畫而不是照片。

Japanese artists mostly used watercolors.

日本藝術家大多使用水彩畫。

It created just a beautiful effect on the photographs.

它在照片上製造的效果就很美。

The aesthetic quality and slight difference to other kinds of color photographs made them

審美品質和與其他種類的彩色照片略有不同，使他們

very desirable. Taking advantage of that pool of talented,

非常理想。利用這批人才的優勢。

highly skilled artisans from the woodblock print industry made that all the more possible.

來自木版畫行業的高超技藝的工匠們讓這一切成為可能。

The color added to the sense of realism in these images, which made them even more collectible.

在這些畫面中，色彩增加了逼真感，這讓它們更具收藏價值。

But many of these photos, especially the ones staged in studios, have artificial elements

但這些照片，尤其是在影樓裡上演的照片，很多都有人為的因素。

– like backgrounds, and fake snow – added to dress up the scene.

- 比如背景，還有假雪--為了裝扮場景而添加的。

And some constructed images of a society that was already largely in the past when they

而一些人在構建社會形象時，已經基本成為了過去

were made.

了。

The samurai, for example, had all but disappeared by the 1870s.

例如，武士在19世紀70年代已經全部消失。

These are models wearing old armor.

這些都是穿著老式盔甲的模型。

By the 1880s, those same Japanese apprentices that had made foreign-operated businesses

到了19世紀80年代，那些讓外商經營的日本學徒們

profitable dominated the market with photography studios of their own.

盈利主導市場，有自己的攝影工作室。

Like Kusakabe Kimbei — one of the most lucrative photographers at the end of the 19th century

就像草壁金兵衛--19世紀末最賺錢的攝影師之一。

in Japan.

在日本。

An artist and former apprentice to foreign photographers.

藝術家，曾是外國攝影家的學徒。

Who built on the precedent they set:

誰在他們開創的先例基礎上。

Staging elaborate, sometimes mythic scenes of Japanese culture, carefully applying watercolors,

舞臺精心設計，有時是日本文化的神話場景，精心應用水彩畫。

and packaging them in expensive photo albums to sell to foreigners.

並把它們包裝在昂貴的相冊裡賣給外國人。

This photo of a woman holding an umbrella “caught in a rainstorm” is a good example

這張女子撐著雨傘 "被暴雨纏身 "的照片就是一個很好的例子

of the meticulous work that photographers like Kimbei put into staging supposedly-typical

像金兵衛這樣的攝影師在拍攝所謂的典型作品時所做的細緻工作。

scenes of Japanese life.

日本生活的場景。

The “rain” is simulated by scratches into the glass plate negative.

"雨 "是通過劃傷玻璃板底片來模擬的。

And the subject's kimono is attached to the photo studio's background to simulate

而被攝者的和服附著在照相館的背景上，以模擬被攝者的和服。

wind.

風。

These techniques drew on recognizable tropes from Japanese fine art

這些技術借鏡了日本美術中可識別的典故。

In Japan, I think most directly we can see the relationship from ukiyo-e woodblock print

在日本，我想最直接的關係可以從浮世繪木版年畫中看出

art to photography.

藝術到攝影。

Composition and more importantly, subject matter, I think you can see a really direct

構圖，更重要的是，主題，我想你可以看到一個真正的直接。

relationship.

的關係。

And because I think even with Western audiences, the knowledge of subject matter that was

因為我覺得即使是西方觀眾，對題材的認識也是如此

pictured in woodblock prints was sort of growing in the 19th century.

圖為木版畫在19世紀算是增長了。

So it only made sense for photographers to build on this familiarity.

所以，攝影師在這種熟悉的基礎上，也就順理成章了。

The rise of amateur photography in the 20th century caused a decline of studio souvenir

20世紀業餘攝影的興起，造成影樓紀念品的衰落。

photography in Japan.

日本的攝影。

Kodak introduced the Brownie camera in 1900, and travelers could take their own photos.

柯達在1900年推出了布朗尼相機，旅行者可以自己拍照。

Plus, the introduction of postcards and mass-printed volumes of travel books meant the images made

另外，明信片和大量印刷的旅遊書籍的問世，意味著這些影像讓我們的生活更加豐富多彩。

in Japanese photo studios were less and less precious.

在日本的照相館裡，越來越不珍貴了。

And therefore no longer profitable to spend so much time staging and then hand-coloring.

也是以不再花那麼多時間去做分期，然後再手工上色，已經無利可圖。

Studios like Kimbei's shifted their business model to accommodate a new amateur market.

像金貝這樣的工作室，為了適應新的業餘市場，轉變了商業模式。

Selling supplies and offering darkroom space to tourists.

銷售用品，並向遊客提供暗房空間。

But for the second half of the 19th century, images like these from Japanese photo studios

但在19世紀下半葉，像這樣的圖片來自日本照相館。

– even though many were staged and sometimes

- 儘管很多都是裝出來的，有時

already-dated stereotypes – – had a lasting effect on how outsiders

已經過時的陳規定型觀念 -- -- 對外人的看法產生了持久的影響。

perceived Japanese culture.

對日本文化的認識。

That image of the woman with the umbrella relates to previous, centuries, really, of

那個打著傘的女人的形象與以前，幾個世紀以來，真的是有關的。

the way women were sometimes portrayed in Japanese art.

日本藝術中有時對婦女的描繪方式。

So you have that trope.

所以，你有這個特例。

But what happens when you translate it into photography is it takes on the sense of realistic

但當你把它轉化為攝影作品時，會發生什麼呢，它就有了現實的感覺

representation in a way that a painting or woodblock print does not.

繪畫或木版畫所沒有的表現方式。

That photo of the woman with the umbrella is often credited to Kimbei.

那張打著傘的女人的照片，常常被認為是金貝的功勞。

But it's also often credited to his predecessor, Austrian photographer Baron Raimund von Stillfried.

但也常常被歸功於他的前輩，奧地利攝影師雷蒙德-馮-斯蒂爾弗裡德男爵。

One of the tricky parts of 19th century photography in Japan is accurately identifying the original

19世紀日本攝影的一個棘手問題是準確識別原作。

photographer.

攝影師：

As studios closed and photographers retired, they sold their negatives to the competition,

隨著影樓的關閉和攝影師的退休，他們把底片賣給了競爭對手。

who, without copyright laws, could claim the photos as their own.

誰在沒有版權法的情況下，可以將照片據為己有。

So even after copyright laws were established, it was very hard to enforce.

所以即使在版權法建立後，也很難執行。

So as a result, you see – over decades – the same images produced and reproduced under

是以，結果是，你看到--幾十年來--同樣的影像製作和複製的下

different studio labels.

不同的工作室標籤。

Which is one of the reasons why it's very difficult to attribute certain images to a

這也是為什麼很難將某些影像歸屬到一個人身上的原因之一。

specific photographer.

特定的攝影師。

Which explains why this photo of the Empress of Japan, taken by Uchida Kuichi in 1872,

這就解釋了為什麼這張日本皇后的照片，是內田久一在1872年拍攝的。

appears in later photo albums, mislabeled, and credited to either Felice Beato or Raimund

出現在後來的相冊中，但被貼錯標籤，被記為Felice Beato或Raimund的名字。

von Stillfriend, neither of whom took the picture.

馮-斯蒂爾弗裡德，他們都沒有拍照。

And if you want to learn more about this, I really recommend this book by Terry Bennett,

如果你想了解更多這方面的知識，我非常推薦特里-本尼特的這本書。

who I also interviewed for this episode.

我也在這期節目中採訪了他。

Reading this was a huge inspiration for this episode, and it's got a lot of great info

讀了這本書，對本期節目有很大的啟發，裡面有很多很好的資訊。

about how photography first came to Japan, and more detail about the photographers that

關於攝影如何傳入日本，以及更多關於攝影家的細節。

were working there in the 19th century.

在19世紀的時候在那裡工作。

So, check it out if you're interested.

所以，有興趣的朋友可以去看看。

And thanks for watching.

也謝謝你的觀看。