劍橋雅思14Test2Passage1閱讀原文翻譯 Alexander Henderson

劍橋雅思14Test2Passage1閱讀原文翻譯 Alexander Henderson

劍橋雅思14 Test2 Passage1閱讀原文翻譯

第1段

Alexander Henderson was born in Scotland in 1831 and was the son of a successful merchant. His grandfather, also called Alexander, had founded the family business, and later became the first chairman of the National Bank of Scotland. The family had extensive landholdings in Scotland. Besides its residence in Edinburgh, it owned Press Estate, 650 acres of farmland about 35 miles southeast of the city. The family often stayed at Press Castle, the large mansion on the northern edge of the property, and Alexander spent much of his childhood in the area, playing on the beach near Eyemouth or fishing in the streams nearby.

Alexander Henderson于1831年在蘇格蘭出生，是一位成功商人的兒子。他的祖父，也叫做Alexander，開創(chuàng)了家族企業(yè)，后來成為蘇格蘭國家銀行的首任主席。其家庭在蘇格蘭擁有大量的土地。除了位于愛丁堡的住宅之外，它還擁有Press Estate，一塊城市東南部大約35英里處，占地650公頃的農(nóng)場。一家人經(jīng)常待在位于土地北部邊緣的巨大住宅Press城堡。Alexander 在這里度過了其大部分的童年時光，要么在Eyemouth附近的海灘上玩耍，要么在附近的溪流中釣魚。

第2段

Even after he went to school at Murcheston Academy on the outskirts of Edinburgh, Henderson returned to Press at weekends. In 1849 he began a three-year apprenticeship to become an accountant. Although he never liked the prospect of a business career, he stayed with it to please his family. In October 1855, however, he emigrated to Canada with his wife Agnes Elder Robertson and they settled in Montreal.

即便在他前往愛丁堡郊區(qū)的Murcheston Academy讀書之后，Henderson仍然會在周末回到Press。1849年，他開始為期三年的學(xué)徒生涯以成為一名會計。雖然他從未喜歡過這一商業(yè)職業(yè)的前景，但他為了讓家人開心還是一直做著。然而，1855年10月，他與妻子 Agnes Elder Robertson移民到了加拿大，并在蒙特利爾安頓下來。

第3段

Henderson learned photography in Montreal around the year 1857 and quickly took it up as a serious amateur. He became a personal friend and colleague of the Scottish-Canadian photographer William Notman. The two men made a photographic excursion to Niagara Falls in 1860 and they cooperated on experiments with magnesium flares as a source of artificial light in 1865. They belonged to the same societies and were among the founding members of the Art Association of Montreal. Henderson acted as chairman of the association’s first meeting, which was held in Notman’s studio on 11 January 1860.

Henderson于1857年左右在蒙特利爾學(xué)習(xí)攝影，并迅速將它培養(yǎng)成一項認真的業(yè)余愛好。他成為蘇格蘭裔加拿大攝影師William Notman的私人好友與同事。這兩個人在1860年的時候進行了一次前往尼亞加拉大瀑布的攝影之旅，在1865年的時候一起實驗利用鎂的燃燒作為自然光源。他們屬于同一個社團，并且是蒙特利爾藝術(shù)協(xié)會的創(chuàng)始成員。Henderson還作為主席主持了該歇會的第一次會議。它于1860年1月11日在Notman工作室中舉辦。

第4段

In spite of their friendship, their styles of photography were quite different. While Notman’s landscapes were noted for their bold realism, Henderson for the first 20 years of his career produced romantic images, showing the strong influence of the British landscape tradition. His artistic and technical progress was rapid and in 1865 he published his first major collection of landscape photographs. The publication had limited circulation (only seven copies have ever been found), and was called Canadian Views and Studies. The contents of each copy vary significantly and have proved a useful source for evaluating Henderson’s early work.

盡管兩人友誼甚篤，但他們的攝影風(fēng)格差別很大。雖然Notman的風(fēng)景照因為其大膽直白的現(xiàn)實主義而聞名，但Henderson在其職業(yè)生涯的前20年拍的卻是浪漫主義照片，展現(xiàn)出英國風(fēng)景畫傳統(tǒng)的濃厚影響。他在藝術(shù)和技術(shù)方面進步很快。1865年，他出版了自己第一套風(fēng)景照片大合集。這套冊子的流通十分有限（目前只發(fā)現(xiàn)了7本），取名為《加拿大風(fēng)景與研究》。每一本的內(nèi)容差別很大，成為評估Henderson早期作品的一個重要資源。

第5段

In 1866, he gave up his business to open a photographic studio, advertising himself as a portrait and landscape photographer. From about 1870 he dropped portraiture to specialize in landscape photography and other views. His numerous photographs of city life revealed in street scenes, houses, and markets are alive with human activity, and although his favourite subject was landscape he usually composed his scenes around such human pursuits as farming the land, cutting ice on a river, or sailing down a woodland stream. There was sufficient demand for these types of scenes and others he took depicting the lumber trade, steamboats and waterfalls to enable him to make a living. There was little competing hobby or amateur photography before the late 1880s because of the time-consuming techniques involved and the weight of the equipment. People wanted to buy photographs as souvenirs of a trip or as gifts, and catering to this market, Henderson had stock photographs on display at his studio for mounting, framing, or inclusion in albums.

1866年，他放棄自己的生意，開設(shè)了一家攝影工作室，將自己宣傳成一位人像與風(fēng)景攝影師。從1870年左右開始，他舍棄人像，專注于拍攝風(fēng)景照和其他景象照。他拍下數(shù)不勝數(shù)的城市生活照片。這些街道景象、房屋和市場因為有了蕓蕓眾生的活動而顯得充滿生機。雖然他最喜歡的題材是風(fēng)景，但他經(jīng)常將風(fēng)景圍繞人類活動進行構(gòu)圖，比如耕種田地，河流取冰，或者沿林中溪水順流而下。對這種類型的景象和其他他拍攝的描繪木材貿(mào)易，蒸汽船與瀑布的照片有很大需求，足以他以此謀生。在19世紀80年代末期之前，因為費時的技術(shù)以及設(shè)備的重量，幾乎沒有其他愛好或者業(yè)余攝影與他競爭。人們想要購買照片作為旅行的紀念品或者禮物。為了迎合這一市場需求，Henderson在自己的工作室展出大量的儲備照片，以供鑲嵌，加框或者收錄集結(jié)成冊。

第6段

Henderson frequently exhibited his photographs in Montreal and abroad, in London, Edinburgh, Dublin, Paris, New York, and Philadelphia. He met with greater success in 1877 and 1878 in New York when he won first prizes in the exhibition held by E and H T Anthony and Company for landscapes using the Lambertype process. In 1878 his work won second prize at the world exhibition in Paris.

Henderson在蒙特利爾和諸如倫敦、愛丁堡、都柏林、巴黎、紐約以及費城等國外地區(qū)頻繁展出自己的照片。他于1877年和1878年在紐約獲得更大的成功，當時他因為使用漫反射的處理手法拍攝風(fēng)景而贏得由E and H T Anthony and Company舉辦的攝影展的頭獎。1878年，他的作品在巴黎世界博覽會上贏得二等獎。

第7段

In the 1870s and 1880s Henderson travelled widely throughout Quebec and Ontario, in Canada, documenting the major cities of the two provinces and many of the villages in Quebec. He was especially fond of the wilderness and often travelled by canoe on the Blanche, du Lievre, and other noted eastern rivers. He went on several occasions to the Maritimes and in 1872 he sailed by yacht along the lower north shore of the St Lawrence River. That same year, while in the lower St Lawrence River region, he took some photographs of the construction of the Intercolonial Railway. This undertaking led in 1875 to a commission from the railway to record the principal structures along the almost-completed line connecting Montreal to Halifax. Commissions from other railways followed. In 1876 he photographed bridges on the Quebec, Montreal, Ottawa and Occidental Railway between Montreal and Ottawa. In 1885 he went west along the Canadian Pacific Railway (CPR) as far as Rogers Pass in British Columbia, where he took photographs of the mountains and the progress of construction.

19世紀70年代和80年代，Henderson廣泛游歷了加拿大的魁北克和安大略地區(qū)，用影像記錄下這兩個省份中的主要城市和魁北克地區(qū)的許多村莊。他尤其喜歡曠野景象，并且經(jīng)常乘獨木舟沿Blanche, du Lievre和其他著名的東部河流旅行。他去過幾次Maritimes。1872年，他乘坐帆船走遍了St Lawrence河沿岸的北部低地地區(qū)。同一年在St Lawrence低地地區(qū)時，他拍攝了一些正在建設(shè)的殖民地之間鐵路的照片。這一舉動在1875年促成那家鐵路公司委托他拍攝記錄當時快要竣工的、連接蒙特利爾和哈利法克斯鐵路沿線的主要建筑。來自其他鐵路公司的委托接踵而至。1876年，他拍攝了魁北克線、蒙特利爾線、渥太華線以及蒙特利爾和渥太華之間的西洋鐵路上的各種橋梁。1885年，他沿著加拿大太平洋鐵路一直向西，最遠到達過不列顛屬哥倫比亞的Rogers Pass。在那里，他拍攝了群山和正在進行中的建筑工程。

第8段

In 1892 Henderson accepted a full-time position with the CPR as manager of a photographic department which he was to set up and administer. His duties included spending four months in the field each year. That summer he made his second trip west, photographing extensively along the railway line as far as Victoria. He continued in this post until 1897, when he retired completely from photography.

1892年，Henderson接受CPR提供的一份全職工作，成為他即將設(shè)立并負責的攝影部門的經(jīng)理。他的工作內(nèi)容包括每年在戶外待上4個月。那年夏天，他第二次向西旅行，沿著鐵路線拍下大量的照片，最遠到達過維多利亞。他在這一崗位上一直干到1897年從攝影業(yè)徹底退休。

第9段

When Henderson died in 1913, his huge collection of glass negatives was stored in the basement of his house. Today collections of his work are held at the National Archives of Canada, Ottawa, and the McCord Museum of Canadian History, Montreal.

當Henderson于1913年去世時，他海量的玻璃底片被儲存在自己家的地下室里。如今，他的作品被收藏在位于渥太華的加拿大國家檔案館以及位于蒙特利爾的麥考得加拿大歷史博物館中。

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