Aesthetics of Photographic Material—Images of Platinum/Palladium Metal Crystal

第一次观看迪尔曼·克瑞恩的110幅摄影作品，给我留下了难以忘怀的印象。说实在的，那是我第一次集中观看如此大量的铂钯印相照片。与熟悉的银盐影像和数字打印影像完全不同，迪尔曼·克瑞恩的照片给我打开了一个全新的影调世界，让我深刻感受到了摄影材料美学的价值。

I  was impressed with 110 photography works of Tillman Crane when I first  saw his exhibition. To be honest, it was the first time that I watched a  large number of platinum/ palladium printing photographs. Totally  different from well-known images of digital printing and silver salt,  works of Tillman Crane bring me to a new tone world, and make me have  profound understanding for aesthetic value for photographic material.

我 首先被照片中的高光部分迷住了，在那绵长而无断裂的白色与浅灰的影调展现中，浅色受光物体的肌理显得明朗而厚重。于此同时，照片中的黑暗部分，房屋的阴暗 处、树林中阳光的背面等，在黑色的影调中总是还有黑色，仿佛一个无限的黑洞，包容了反射着幽暗光线的无限物质。我真正感受到了铂钯印相的神奇魅力，影调的 跨度如此之大，高光部分炫目却不失厚重，暗部深沉又盈盈闪光，中间的层次更是连绵婉转。这样的影调架构一下子扩大了画面内容的可解读空间，引导影像的阅读 更具内涵与张力。

At  the first sight of highlight, I was deeply enchanted with a long and  continuous white-and-grey tone. Texture of light-colored object seems  bright and heavy, setting off by light. In the black tone, darksome  corner in the house and forest against sunshine appear to be a limitless  black hole, and include measureless substances reflecting gloomy light.  At that moment, I was deeply astonished by magic charming of  platinum/palladium printing. As large difference of tone is, the  highlight remains glaring and dignified, while the shade flickers. The  middle part smoothly and tactfully transits. Such tone framework expands  scrutable of picture once and for all and releases connotation and  inclusiveness of photography reading.  

以光为器、为术，影像视野涉及世间万物

Getting Temporal Together through Light

迪 尔曼·克瑞恩的摄影内容除了人物，无所不包，视域亦大亦小。他拍摄了很多树林、山水，清晰锐利、影纹饱满，让我清晰读出他的创作理念来自韦斯顿、亚当斯为 代表的直接摄影美学。他的镜头更聚焦于一些不起眼的空间，有时是日常生活小景，有时是被遗弃的角落。照片里，窗台上的几块卵石，废弃房屋的一个角落，残破 的玻璃窗、金属零件工具或者屋内剥落的墙体等，这些充满了社会和人的气息的画面，是典型的当代摄影语境中，对日常事物进行宏大叙事的影像表达。颇令人意外 的是，迪尔曼·克瑞恩有十五张柔焦照片，拍摄自然树木和建筑、静物，画面从清晰的中心向四周逐渐朦胧开去，闪烁的光晕使画面虚实相应相挥，美轮美奂。这个 新画意影像部分的有意为之，仿佛是迪尔曼·克瑞恩出离21世纪，重返回19世纪初印象派风格的画意摄影之路。

Photography  works of Tillman Crane are inclusive throughout the world. He shot a  large number fo trees, mountains and waters which are characterized by  distinct and sharp grain. Viewing his works, I am clearly acquired with  his creative ideas which are from aesthetics of direct pickup  represented by Weston and Adams. Regardless of scene of daily life or  deserted corner, he prefers to pay much attention to unimpressive  spaces. Several graits on the sill, a corner of deserted house, wrecked  casement window, metal parts or desquamated wall, all these fully  reflect tinges of society and human beings. Undoubtedly, these are  narrative and grand image expression for daily objects in the context of  contemporary photography. To my surprise, Tillman Crane has 15 photos  of soft focus. When shooting trees, structures and objects, the  sharpness of things gradually dims from the center. Twinkling halo  relieves against things, presenting a splendid image. This image of  artistic inspiration seems to be deliberately created by the author. It  appears a path of photography that Tillman Crane leaves the 21st century for impressionism at the beginning of the 19th century.

在迪尔曼·克瑞恩的摄影作品中，无论拍摄什么题材，光不仅是描述画面内容的核心途径，也是影调结构的核心语言。他以光为器建构自然之影像，以光为术锤炼日常景象。迪尔曼·克瑞恩的影像作品传递着作者对自然的敬仰、对现代社会中无常空间及物品的深层审美体验。

Throughout  all photography works of Tillman Crane, light is not only a core  approach to describe image but also core language of tone structure.  Constructing natural image by light, Tillman Crane makes unremitting  efforts to optimize daily scene. Absolutely, his photography works  convey admiration and profound aesthetic experience for the nature and  variable space and goods in the modern society.