Albert Normandin，加拿大职业摄影师，授权本人将其自传及部分作品，与无忌同好分享，交流。鉴于很多无忌网友对器材有较多偏好，特意请Albert对他使用过的器材多写了一些。
                                    

At the young age of 9 years old I remember wandering around my home with a Kodak box camera taking Black and White pictures. The first image I remember making is of my niece sitting in a little red wagon in my parents back yard. It is funny how that image is still so clear in my mind.

记得9岁时，我就拿着一个柯达的盒式黑白照相机，在家里转来转去。我拍的第一张照片，是我的侄女坐在我父母后院的红色小货车上。这么多年过去了，我对这张照片的记忆依然很清晰，这真有趣。

My first visual inspirations were looking through my older brothers photography magazines. These magazines showed many different techniques which gave me insight to all sorts of possibilities.

第一次感受到视觉上的灵感火花是我翻看我的哥哥们的摄影杂志，这些杂志展示了众多不同的摄影技巧，开阔了我的眼界，让我意识到各种拍摄的可能性。

Also going through National Geographic magazines made me dream of traveling the World and photographing tribal people and landscapes in places like Botswana, Namibia and Zimbabwe. Names of foreign countries that I really didn’t know anything about. But I loved the sound of the names of these countries and felt like I had to go there and see these people and places.

同时，阅读国家地理杂志让我梦想能游遍全世界，拍摄各种部落民族和地形风貌，去到那些异国他乡，比如博茨瓦纳，纳米比亚，津巴布韦，虽然对这些国家我其实一无所知的，但是我为这些异域国家的名称音节着迷，并且希望能去到那里，亲眼看到那里的人民和风光。

Through my teenage years I built model cars and eventually moving on to building real cars. I also built and drove race cars. This eventually led to restoring antique cars.

在我十几岁的时候，我装配摩托车，然后是真的小汽车。我也装配赛车，并且驾驶这些赛车，最后发展成重建一些古董车。

While working with cars I got a job fixing machines. First I worked on blueprint machines (machines that make copies of blueprints) and eventually working on all types of machines used in the printing and graphics industry. Printing presses, large process cameras and any other type of related equipment for this industry.

This equipment was printing images that I was dreaming of capturing on film.

在与汽车打交道的年代里，我找到了一份修理机器的工作。一开始，我只修理晒图机（就是复制设计图的机器），后来接触到了所有印刷及制图行业用的机器，印刷机，制版照相机，以及所有这个行业相关的其他机器。这些设备印刷出我梦想在胶片上捕捉下来的图片。

All through this mechanical period of my life I kept on saying that “One day I will be a photographer”.

在这段与机械打交道的生涯中，我不停的告诉自己‘有一天我会成为一名摄影师’。

Towards the end of my career as a technician I started freelancing fixing machines and the money I made from this, financed my photography.

在结束技师这个职业前夕，我开始了修理机器的自由职业，以此赚来的钱用于我的摄影。

Aside from the usual sunsets and landscapes, I started taking pictures of Rock Music concerts. This is probably one of the hardest subjects to try and take pictures of, as the people are always moving, they always have microphones in their face, the lighting is never strong enough and is always changing. Let alone fighting the crowds of people to get close enough to get a good shot.

除了拍摄常规的日落以及风景照片之外，我开始为摇滚音乐会拍照，这可能是最难尝试和拍摄的题材，因为人物总是在晃动，麦克风总是挡住了脸部，光线总是不够强而且一直在变化，更不要说必须与人群作战才能靠得够近拍到好照片。

This was a very good learning experience for me. It really did help me refine my technical skills with equipment and films.

这对于我来说是一个非常好的学习经历，的确磨练了我使用设备和胶片的技巧。

I would try any type of film just to see what it would do, Color, B&W, Negative, Transparency, High Speed films. Pushing the speed of the film in developing and other experiments were all new to me.

我曾尝试各种胶片，感觉不同的效果，彩色的，黑白的，负片，反转片，高速胶片。迫冲胶片以及其他尝试当时对我来说都是新奇的。

I started out with a Pentax Spotmatic F  35 mm camera and 2 lenses. Eventually I moved up to a Nikon FM camera and a few more exotic lenses that were much faster for low light shooting.

开始我使用Pentax Spotmatic F 35 mm相机以及两个镜头，后来用上了Nikon FM相机以及一些更奇特的镜头，使我在暗淡光线下的拍摄快了很多。

I also joined a local gallery called “CREO 3”. This was formed by 3 photographers that taught classes and put on gallery shows. But most importantly it was a place to hang out and discuss photography, which exposed me to other photographers and the real world of photography.

同时我加入了本地一个叫CREO 3的画廊，它是由三位摄影师创建的，他们教授课程以及负责画廊的展出。最重要的是，这是个展示及讨论摄影的地方，使我真正接触到其他的摄影师和摄影这个世界。

But the big turning point for me was taking some photographic workshops in California. Jay Maisel from New York City was teaching a workshop on Color photography.

但使我真正转变的是在加利福尼亚参加的一些摄影研讨会。来自纽约的Jay Maisel为彩色摄影开了一个教学课。

The first night he showed over 500 images that just amazed me. I said to myself “This is exactly what I want to do”.

头一个晚上他出示了五百多张让我惊叹的照片，我对自己说：‘这正是我要做的。’

I asked him what I should do to get into photography as a career. He said “ Come to New York”.

我问他我要怎么做才能进入摄影这个事业，他说‘来纽约吧’。

So after a ten years as a Technician, I took the chance that would change my life. I quit fixing machines on a Friday and bought a one way ticket to New York City, arrived on the Monday morning and said “Now I am going to become a photographer”. I was 27 years old when I took this chance.

因此，在做了十年技师之后，我找到了改变我生活的机会。在一个星期五，我决定不再修理机器，买了一张单程票在星期一早晨来到了纽约，我说‘从现在开始我要成为一名摄影师’。做这个决定的时候我27岁。

I worked for Jay Maisel for three and one half years. As an assistant, location scout, producer, technician, building maintenance, slave....

我跟着Jay Maisel工作了三年半的时间，做助理，做拍摄场地侦察，做制片，做技师，做物业维修，做奴隶。。。

This was from 1982 to 1985.
那是从1982年到1985年。

He had a staff of 7 people and I was on the bottom of the employee chain, so I had to do anything and everything that was pushed my way. I had to earn a position in his group of people.

他手下有七个人，而我是这条工作链的底层，所以我必须做任何事让自己出头。我需要在他的工作小组里有自己的一席之地。

When I had any time off from working for Maisel, I would walk the streets and take pictures. It was  a great way to learn how to shoot people and do street photography.

在为Maisel工作之余，当我有任何空闲，我就行走在各条街上，拍摄各种照片。这是一个学习如何拍摄人物和街头一景的好方法。

New York is a very tough place to shoot people and it really challenged me personally and my skills. I was a small town shy Canadian boy taking on the “Big Apple”, New York City.

在纽约拍摄人物是件非常艰难的事情，挑战着我自身和我的技巧。一个来自加拿大小镇的羞涩的男孩对抗着‘大苹果’——纽约。

People would say that I went to study with the “Great Jay Maisel”, but there was no studying with him, you busted your ass and worked hard. Taking out the garbage, cleaning the mess on the sidewalks of his building that were left by the bums and street people and many other jobs that were not related to photography.

人们会说我去向‘伟大的Jay Maisel’学习了，但是这里没有学习，只有卖力干活。收拾垃圾，清理他门前的人行道，扫除流浪汉和路人留下的垃圾，以及其他许多与摄影无关的工作。

He is the photographer, you are the slave. It was not glorious work, but I was happy to have this great opportunity.  

他是摄影大师，而你是奴隶。这并不是一份荣耀的工作，然而我还是非常高兴我有这么个伟大的机会。

With his photography, there was always something going on to learn from. Business negotiations, finding images for stock photography requests, slide shows and portfolios to assemble, assignments to produce which included scouting locations, casting of models, travel arrangements and sche※※※※ng. Everyday was a learning experience of on the job training.

围绕着他的摄影，总有那么些可以学习的，商务谈判，按摄影素材库的需求挑选片子，幻灯片演示，收集资料，以及那些为了创作而做的准备，包括察看拍摄场地，挑选模特，旅行准备工作，和行程安排。每天都是实地培训的学习经历。

Everything I have done in my life has been the “Learn by Doing” theory. I have never had any real formal training or education in any of the work I have done, but I have been very good at figuring things out, whether it is something mechanical, a creative visual problem, a business negotiation or how to get to some unknown place in a far off foreign land.

我这一生中做的事情都遵从‘边做边学’的原则。我的任何工作中，都从来没有什么正式的培训或者是教育，但我比较擅长自己探索归纳，无论是机械方面的，视觉创意方面的，商务谈判的问题，还是如何到达一个遥远的国度一块陌生的土地。

With my technical/mechanical skills I took care of all the equipment. He had 12 Nikon F4 cameras that we used all the time and all the lenses you could imagine.

我用我技术/机械方面的技能来照看所有的器材设备。Maisel有十二台Nikon F4相机，这是我们常用的，还有所有的你能想到的镜头。

I was also able to experiment with lighting equipment which led me into new areas of photography that I had not worked with before.

当时我也有机会使用各种照明设备，这让我进入了以前从未接触过的一个摄影新天地。

Maisel was and still is the “God of Color” photography. He had been shooting Kodak Kodachrome film since the beginning. So I learned all about Kodachrome and would do all the film testing and began using it for all my personal work too.

在过去以及现在，Maisel一直是一位被誉为‘色彩之神’的摄影大师。从一开始他就使用柯达彩色胶片进行拍摄，因此我学习了关于柯达彩色胶片的一切，学会了各种胶片测试，并且开始在我自己的拍摄中使用这些方法。

Making duplicate slide Transparencies of his original work was very important to save his archive of images. I modified equipment and perfected a system to make Kodachrome duplicates of his original Transparencies.

为Maisel的原始作品制作幻灯片副本是为他的片子存档的一项重要工作，我对设备做了改进，改善了把他的原始幻灯片制作成柯达胶片复制品的方法。

After 3-1/2 years with Maisel it was time for me to break away and find my own photography and find myself. I changed directions with my life again and returned to Canada to start a photographic business.

在跟着Maisel工作三年半后，我意识到是时候离开，是时候寻找属于我自己的摄影生涯，是时候找回我自己了。我再一次改变了我的生活方向，回到了加拿大，开始了我自己的摄影事业。

Vancouver was hosting the World Transportation Exposition, “Expo 86”. Because of this, the economy was good and there were many opportunities for assignment work.

那年温哥华正在举办世界交通展Expo86，因此当时的经济良好，自由职业的机会很多。

I put together a portfolio of my street photography from New York City and went to find work. Even though I was only showing personal work to potential clients, I was accepted and got work because of my experience in New York City and the strength of my personal work.

我把在纽约街头拍摄的片子放入我的作品选辑，开始寻找工作。虽然我只是向那些潜在的客户展示了我的个人作品，但是由于我在纽约的经历以及我个人作品所展示的实力，我很快被录用了，有了工作。

My first assignments were for Audio Visual companies. They were doing big Slide Shows for the different Pavilions at “Expo 86”. The good thing about this kind of work is it got me out shooting. They needed so many images to create the very large scale Slide Shows.

我最初的雇主是些视听公司，他们为Expo86的各个参展亭制作大幅的幻灯片。这类工作的好处是使我外出不断拍摄，制作一幅大型的幻灯片需要无数的照片。

I also landed a contract with Expo Corporation to do photography on the Expo construction site. This contract started a year before “Expo 86” opened and ran thru the extent of the 6 month event.

同时我与展出公司也签了一份拍摄展览场地建筑的合同，这份合同始于Expo86开幕的前一年，一直持续到了这个为期六个月的盛事结束。

Because of this event other assignment avenues opened up for me. Book projects, Corporate/Industrial assignments and some Advertising work.

正因为这次展览活动，其他的工作大道也向我敞开了。图书项目，公司企业项目，以及一些广告类的工作。

After “Expo 86” I saw the need to expand my business and started going after more Advertising work. I was successful at finding more of these type of assignments and was able to challenge myself in new and different directions.

Expo86结束后，我感到需要扩展我的事业，开始着重于广告业的工作。我成功地接到更多此类的单子，并且开始在这全新的方向挑战自己。

With Advertising assignments comes more pressure and stress. Clients are very demanding, deadlines to complete the projects are ridiculous. You are expected to work miracles visually all the time.

来自广告业的任务带来的是更多的压力。客户的要求通常十分苛刻，要求任务完成的期限也通常紧迫到无法想象。他们期待你每时每刻都要创造奇迹。

It is a very big challenge to do Advertising assignments, but like any hard work, there is a level of satisfaction that can be achieved. To see the finished project as a newspaper ad, on a cereal box in a local store or a billboard across the country is always a nice surprise and reminder of the hard work you’ve done.

接受这些广告业的单子是非常大的挑战，然而象任何其他艰辛的工作一样，总能获得一种满足感。看到我完成的项目成为报纸广告，当地小店里的食品盒包装，或是全国各地的广告牌，总有一种甜蜜的惊喜，使我回忆起当时的辛勤工作。

Corporate/Industrial projects are whole different type of challenge. You are hired to make some big ugly piece of equipment or mechanical structure look beautiful, like a piece of art.

公司企业的项目则是另外一种挑战。你被雇用来把一些大型的丑陋的机器或者是机械结构制作成漂亮的艺术品一样的图片。

With my mechanical background and technical mind I found it quite exciting to be around all this heavy equipment and making images of them at work.

而我，由于我的机械背景和技术头脑，发现在这些笨重的机器设备周围为它们拍照还挺令人兴奋。

Very often I felt like a child playing with Big toys. But it is not that simple, it is a very dangerous work environment and you have to be very very careful, everything has to be done with safety as the first priority.

我会经常觉得自己象个孩子一样摆弄这些大个子玩具。但这并不简单，工作环境十分危险，你必须非常非常小心，做任何事都必须安全第一。

When I was repairing the printing equipment, my job was   solving problems. In photography my job is very similar, I now solve my Clients visual problems. I find ways to show what they are trying to say with photographic images.

当年修理印刷机的时候，我的工作是解决问题。在摄影生涯里，我的工作也非常相似，现在我是为我的客户解决视觉问题，我用各种拍摄的图片来表达他们想说的东西。

Sometimes it is very straightforward, they have this location, product or something and I find unique ways of showing it at it’s best.

有时候一切非常直接，他们出示一个地点，一样产品，或者其它什么，我发掘独特的视角来最好地展示它。

But other times I have to come up with an image or series of images that says something more open and less literal. This challenges your thinking and forces you to look beyond the obvious direct solution.
但有时候你需要用一张或一组图片来表达一些更多开放思维更少文字能描述的东西，这非常挑战你的想象，迫使你脱离那些显而易见的直接方式而看得更远。

You go out and see differently, because the answer can and almost always is very simple, so simple you can easily pass it by. I do love the chance of finding new ways to solve Clients image needs.

你走出事物的本身，会看到不同的角度，因为事物的本质其实就是那么简单，简单到你很容易就忽略了它。我热爱这样的机会能让我用全新的角度诠释客户的要求。

Doing the more creatively challenging assignments makes me feel like the Client has hired me for what I can do for them instead of just doing the job, which anyone with a camera could probably do, for much less money than what I charge.

这些需要我更多创意也带来更多挑战的任务，让我感觉到客户是因为能胜任挑战而雇用了我，而不是仅仅让我完成工作。如果是仅仅完成工作，那么任何一个人拿了相机都可能做到，收费也会比我少得多。

People always tell me I have a very Graphic Eye. I have always found this to be a funny expression. Does this mean my Eye looks very Graphically pleasing? I would joke and ask them.

人们常说我有一双美学的眼睛，我总觉得这个表达很有意思。你们是说我的眼睛很漂亮很符合美学原理么？我常常这样和他们开玩笑。

But I am guessing they mean that I have a good graphic sense about how I arrange the elements in my images. This, I believe, is partly because of my mechanical background.

但我猜想他们是想说我有很好的美学意识，在我的照片里各种元素布局得当。我想，这部分是因为我的机械背景。

Anything I photograph can potentially go to my stock photography agency, Masterfile. They select images that they think are marketable and will put them on their website and in their library.

我拍摄的任何照片都有可能送去我的摄影素材代理商Masterfile，然后他们挑选他们认为有市场价值的片子，放在他们的网站上或者是片库里。

These images can be purchased by any type of Client for any type of use, anywhere in the World. This is a link to their website. You can see my images by searching my name:

世界各地任何客户可以购买这些照片用作任何用途。下面是他们的网站链接，你能搜索我的名字查看我所有照片。http://www_masterfile_com/

http://www_masterfile_com/

Over the years Masterfile has been good to work with and are fairly consistent at making money with my images. They are very tough to deal with and don’t accept many images at all, but they seem to know how to sell images.

过去的多年里我一直与Masterfile很愉快地合作，他们也不断地用我的照片帮我挣钱。他们通常很强硬，不肯多收照片，但是他们的确懂得如何销售照片。

All of this assignment work and stock image sales helps finance my real passion, my personal photographic work.

所有的这些自由职业和素材库的销售在经济上支撑了我内心真正的激情，也就是我的私人摄影爱好。

The childhood dreams of traveling the World that I had, is  actually coming through much more than I could have ever imagined.

我儿时梦想着周游世界，现在一一实现，并且比我当时想象的走得更远。

The first real trip was in 1995 which included driving the Garden Route on the bottom coast of South Africa, traveling to the Biggest Sand Dunes in the World in Namibia, flying into the Okavango Delta in Botswana and wandering to Victoria Falls and Zimbabwe.

第一次真正的旅行是在1995年，当时我沿着南非的南部海岸线驾车行驶在花园大道上，游走在纳米比亚全世界最大的沙丘上，又飞去了博茨瓦纳的奥卡万戈三角洲，最后漫步在维多利亚瀑布和津巴布韦。

The next trip was going to the Great Deserts around the World in one month. The Thar Desert in Rajasthan India, the Western Desert in Egypt and crossing the Taklimakan and Gobi Deserts in China.

接下来的那次旅行是在一个月中走遍了全世界的那些大沙漠，印度拉贾斯坦邦的塔尔沙漠，埃及的西部沙漠，以及穿越了中国的塔克拉玛干沙漠和戈壁沙漠。

Some of my other trips have included Bhutan, Bolivia, Cambodia, Columbia, Chile, Indonesia, Japan, Kenya, Malaysia, Morocco, Peru, Spain, Tanzania, Thailand and Vietnam. I have been to 33 countries now and feel like I haven’t even started to see this World we live in.

其他的一些旅行包括不丹，玻利维亚，柬埔寨，哥伦比亚，智利，印尼，日本，肯尼亚，马来西亚，摩洛哥，秘鲁，西班牙，坦桑尼亚，泰国，以及越南。至今我去过三十三个国家，然而我感觉我还未曾开始观看到这个我们生活着的世界。

For these first trips my equipment would include:
这些早期的旅行中我用了以下这些器材：

120 相机:
-V-Pan 617 cm 手工制作的宽幅相继.
-大量的尼康镜头，从75 mm to 720 mm. 这些镜头广泛地适用于宽幅相机的取景.
-Fuji 645 旁轴相机.

35 mm film cameras:
-尼康F5 和 F100 相机.
-从14 mm 到 500 mm.的尼康镜头
-康泰时G2 旁轴相机及其镜头.
-哈苏 X-Pan 35 mm 宽幅相机及其镜头.

-美能达闪光测光表及点测表.
-小型DV .
-捷信碳纤维三脚架.

用过的胶片包括：
Fuji Velvia 50 ISO, Color 120 roll film.
Fuji Neopan 400 ISO, B&W 120 roll film.
Fuji Provia 100 ISO, Color 35 mm roll film.
Fuji Neopan 400 ISO, B&W 35 mm roll film.
Fuji Neopan 1600 ISO, B&W 35 mm roll film.

Another part of my personal photography is working with beautiful models and dancers. This is one of the many directions my work has taken me, as I am always thriving to be more creative and experiment with ideas.

我的另一部分私人摄影是漂亮的模特和舞者。这是吸引我的众多工作方向之一，因为我总是萌生出各种的创意，尝试各种想法。

The perfectly setup photograph is not something I care to do. The shot may be perfect, but to me, it has no life or feeling to it.

经过周密安排计划的照片不是我想要的，这样的照片可能是完美的，然而对我来说，却是毫无生气缺乏感觉的。

It is much more interesting to take chances and go were thinks are not predictable, I am hoping for interesting accidents or things that I could have never setup or envisioned beforehand.

当思绪出乎预料的时候抓住机会出击，这要有趣得多。我总是期待一些非常有意思的意外发生，不用事先安排想象。

Seeing someone move naturally and just catching a moment is very tough way to work, but much more satisfying and real to me. You can’t this set up.

看到有人自然地走过并且捕捉到这一时刻，这并不容易，但是更令人满足，也更真实。这种时刻是无法安排出来的。

Working with Modern and Ballet dancers gives me more opportunities to capture life in my images. As these people move so well and all I can do is let them go and hope I can grab a moment of their talent.

与现代舞演员和芭蕾舞演员合作让我有更多的机会用照片捕捉生活。这些舞者的举手投足是如此优雅，我所做的就是让他们随意舞动，然后希望我能抓住他们展示天赋的一刹那。

For this kind of work I would normally use Nikon 35 mm cameras and a full range of films.

拍摄这些照片我通常使用Nikon 135 机和各种各样的胶片。

Kodak B&W Infra Red film is a tricky film to work with as it is so light sensitive. It needs to be loaded into the camera in a black bag or dark room. You have to put a deep red filter on the lens to increase the contrast. But the end result is worth the effort.

柯达黑白红外胶片经常会愚弄人，因为它对光线及其敏感。装这种胶卷的时候需要在一个暗袋里或者暗室里进行。你还需要在镜头上加一块深红色的滤光镜来提高反差。但最后出来的效果是值得你这番辛苦的。

Cross Processing film is another technique I used. This involves taking a Transparency film and processing it in Negative film chemistry. Or taking a Negative film and processing it in Transparency film chemistry. The result is a weird and strange shift in colors. This also increases contrast and grain structure.

交叉冲洗胶片是我运用的另一个技巧，即用幻灯片拍摄然后用负片专用的化学剂进行冲洗，或者用负片拍摄然后用幻灯片专用的化学剂冲洗。最后的色彩效果有一种很奇幻的改变。这种方法也能提高反差和突出颗粒。

Like Infra Red film, this is a big experiment and you never really know what the result will be. But when it does work, it can be beautiful.

如同红外胶片，这是一个大胆的尝试，你无法知道最后出来的效果如何，但是一旦奏效，将会非常漂亮。

Testing to get the right combination of films and processing is needed. There is no set standards for these types of techniques and every film reacts differently. Lighting conditions, exposure and many other variables affect the result.

通过各种尝试以取得最佳的胶片和冲洗方式的组合是必要的。此类技巧没有既定标准，每一张胶片的反应都不同。光线，曝光，以及许多其他的变数都会影响最终效果。

Now with this fast changing world and the big shift to Digital photography and film becoming almost extinct, I have finally made the jump into using Digital cameras.

今天，随着世界的快速发展，数码摄影蓬勃而起，胶片几乎灭绝消失，我也最终跃入了数码相机使用者的行列。

My clients now demand jobs done quickly and delivered as Digital files, so it became necessary for me to switch. And finally the quality from the Digital cameras is getting better and acceptable for making large prints and use by my stock agency.

我的客户们如今要求我快速完成任务，并且以数码文件形式交货，因此我也有必要转变。而数码相机的质量最后也越来越好，足以用来打印大幅照片，也被摄影素材代理商所接受。

I use Nikon D2Xs cameras and Apple computers. Traveling now involves bringing along a fully loaded 17 inch MacBook Pro computer, 8 external hard drives of 120 gigabytes each and many 4 Gigabyte Compact Flash memory cards.

现在我用Nikon D2Xs相机和苹果电脑。每次旅行要带上一台全部装备好的17英寸显示器的MacBook Pro笔记本电脑，八个120G的外置硬盘，和一堆4G的CF卡。

After a long day of shooting, I get back to my hotel and spend the evening downloading the days shoot and doing some editing and organizing of files on the laptop.

经过一天漫长的拍摄后，我回到旅店，用晚上的时间把白天拍的片子都下载到笔记本，然后做些编辑和整理。

It certainly is a different way of working and is so much better for so many reasons. Traveling and going through Airport Security is so much easier now with Digital.

这显然是一种完全不同的工作方式，在很多方面都更好。有了数码设备现在每次出游以及过机场安检都变得十分方便。

Before Digital, I would carry 700 rolls of film for a one month trip. Getting this amount of film and the big 6X17 cm cameras and lenses past Security and X-Ray machines was never easy.

在此之前，每次为期一个月的旅行我通常要带上七百卷胶卷。带着这个数量的胶卷，以及几个巨大的617的相机和镜头，经过安检和X光机器可不是件容易的事情。

On many of the bigger trips I would bring someone with me, just to help me get all of this equipment and film on the planes. As I can never let any of this go through baggage and risk loss or damage.

许多次长途旅行，我都必须带上一个帮手，只是为了帮助我把所有这些器材和胶片带上飞机。我无法托运其中的任何一件，万一损坏或遗失，我无法冒这个险。

I have done three trips to Myanmar (formerly Burma)
in the last year. Carrying 2 Nikon D2Xs cameras and 5 lenses with the Apple laptop, hard drives and memory cards. It is a different way of traveling and shooting, but I am enjoying it.

去年一年中我去了三次缅甸（以前叫Burma，现在叫Myanmar），带了两个Nikon D2Xs相机，五个镜头，还有苹果笔记本，硬盘和储存卡，这样旅行和拍摄和以往很不同，但是我非常享受这一过程。

Another difference with shooting Digital images over film, is all digital  files have to be adjusted in Photoshop for color, contrast and sharpening. B&W images are converted from the color files later.

换上数码摄影后与先前胶片相比的另一个不同是所有的数码文件都必须在Photoshop中调整色彩，对比和锐度。而黑白照片则是由彩色照片转换而来。

I am presently experimenting with a Nikon D200 Digital camera that has been specially modified to imitate B&W Infra Red film. After the image is created in the camera, it has to be processed using different filters and settings in Photoshop and converted to B&W.

目前我正在尝试用Nikon D200数码相机，它经过特殊改进以模拟黑白红外胶片。当图像在相机中形成后，必须通过Photoshop中不同的滤镜和设置处理后转换成黑白图片。

I have no interest in manipulating my images, but Photoshop is allowing us to adjust and correct images to the what and how we originally saw that moment.

我无意于精心修改我的照片，不过Photoshop确实能让我们调整纠正图像以达到我们当时当地真实所见的效果。

It is great to have all this control and be able to ship images off to clients or anyone in the world by doing all the work on a computer. But all this new Digital technology is making me live in front of the computer 20 hours a day. I know this can’t be good for me.

这样一切尽在掌握的感觉很棒，所有工作都在电脑上完成，并且通过电脑就能把图片传送到世界各地的客户或是任何人的手中。但是这个新兴的数码科技让我每天有20小时生活在电脑前，我知道这并不好。

There is something so magical about looking at a Fuji Velvia 6X17 cm transparency on a light table that Digital photography will never replace.

在观片台前看着一张富士 Velvia 617幻灯片的感觉是如此美妙，这是数码摄影永远不能替代的。

Another area I am experimenting in is making short movies with still images and Time Lapse movies. With computers this has become easier and accessible for just about anyone.

目前我在尝试的另一个方向，是利用静止的照片或者时延视频制作短片，有了电脑的帮助这一切都变得简单起来，每个人都可以做到。

I am always asked “What do I enjoy shooting most?”
Although I enjoy working with just about any type of subject or situation, photographing people is the most challenging and in the end the most satisfying.

经常有人问我：‘你最热爱摄影的那一方面？’
虽然实际上我几乎做过各种题材的摄影，面对过各种情形，然而拍摄人物始终是最具挑战最终也最具成就感的。

People move, they have moods, reactions, gestures, expressions that are ever changing. The very slight movement of an eye or a simple change in body position  can make or break the shot. Capturing some part of this what I live for.

人是活动的，人有情绪，有反应，有姿态，有表情，而且都时刻在变换。眉眼间细微的变化或是简单地换一个姿势要么能成就一张照片，要么能毁掉一张照片。

As you can probably tell by now, I really do “Love” what I feel so lucky to be able to do. I am more excited than ever about my current work and future ideas, projects and World travels.

现在你了解了吧，我是真正‘热爱’着摄影，并且如此幸运我有能力做好。现在我比以往任何时候都更有兴趣，对于我现在的工作，对于将来的想法，对于所有的拍摄项目，以及世界各地的旅行。

Additional Equipment used in the Digital Studio:

在数码工作室使用的其他器材：

-Apple Quad 2.5 Ghz G5 computer, 8 Gigabytes of Ram.
-Apple Dual 2 Ghz G5 computer, 8 Gigabytes of Ram.
-Six 750 Gigabyte External hard drives for file storage.
-30 inch Apple Cinema Display monitor.
-23 inch Apple Cinema Display monitor.

-Imacon Flextight 646 scanner for very high resolution scans from any film format.

-Imacon Flextight 646扫描仪，用于任何形式胶片的超高分辨率扫描

-Epson Stylus Pro 9600, 44 inch wide large format printer used to make Fine Art Exhibition prints for Gallery shows and Limited Edition sales.

-Epson Stylus Pro 9600，44英寸宽的大开版打印机，打印高质量的画展图片，用于画廊展出和限量版销售。

With this scanner and printer setup I can make 44X125 inch Panoramic prints from 6X17 cm film scans.

有了这样配置的扫描仪和打印机，可以把6X17cm的胶片扫描打印制作成44X125英寸的全景图片。

-Epson R2400 printer for smaller portfolio prints.

-Epson R2400打印机用于打印小幅作品

Albert Normandin Photography Inc.
229 Begin Street
Coquitlam, BC
Canada    V3K 4V4

Telephone: 604-939-7777
Email: albert@albertnormandin.com

我的网页: http://www_albertnormandin_com

很不幸的是，在中国我的网页打不开.

在这些网站，也能看到我的作品:
http://www_vancouverphotoworkshops_com/course_listing/albert_normandin_workshop.htm

http://www_photomediagroup_com/archive/2006-spring/shotintheBack.html

值得学习！！！

无忌图片好慢啊，做个记号以后看吧

中摄？呵呵，不懂

我是进来学习来的

小建议：楼主如果将标题适当增加一些宣传性，看的人可能就多了，比如改成：国际著名摄影师的成长之路之类的，效果会好些，呵呵。

没人看？

郁闷。。。。。

他在数码单反不发达的时代，曾经大量使用柯达的红外胶片。现在怎么弄的我就不知道了，你可以按照文中的地址直接问他，老顽童他们也会做这些。

Albert很喜欢用红外摄影啊，请问他怎么改造D200来红外摄影的，只是简单的加红外滤镜还是把CCD前的低通给摘了还是经过更复杂的改造？

俺也来向大师学习了！
尤其喜欢看这句“别看他已经是老鸟了，你只要一和他聊摄影，他就来兴致，不会因为你是初哥就对你爱搭不理。”

[jiuquyihao 编辑于 2007-08-12 15:09]

Albert没架子，一把大胡子嘻嘻哈哈地像个老顽童，拿我开涮，也拿自己开涮。在与Albert 相处的日子里，感到老头就是一视摄影为生命的人，摄影就是他的全部。有一次和北京的影友聚会，吃过晚饭又接着聊，聊到后半夜都没问题。

别看他已经是老鸟了，你只要一和他聊摄影，他就来兴致，不会因为你是初哥就对你爱搭不理。

国内一家摄影杂志的编辑，是我的一个熟人，我帮他们向Albert 约稿，老头很痛快地答应了，并且极其认真地按照杂志的繁琐要求准备好稿件寄来。稿件登出来之后，那位编辑就离开杂志社了——社里拖欠太多稿费，他没法做下去了。稿费要不来了。

我SB了。整个事情都是我在沟通（翻译、传递邮件、信息），现在让我如何向Albert解释？稿费没有多少，他也不会真的在意这点钱。可是，一个平常嘻嘻哈哈的人，极其严肃认真地按照你们的要求去做一件事，这是一种非常职业化的态度，而我们却以这样一种非职业化的做法，就这样来把他打发了？！

最后，我只好尽量多要一些样刊，自己花钱给Albert寄去。我想Albert也许很想早点看到自己的作品印成中文是什么样子，又跑一趟邮局，用EMS给他发了一本。回到家里，给他写邮件，硬着头皮向他解释这件事，这封邮件写得很难受。

Albert 很快就回信了，不但没有责怪我，反而觉得给我添麻烦了。

过了没多久，便收到他的包裹，送给我一些他的画册，部分打印件。前面的文字提到过，他自己有几台打印机，用来做画廊展出和限量版销售。给我印像非常深刻的是他那些617拍的风光，构图和色彩非常棒，周围几个对片子非常挑剔的朋友，老弥，罗德刚，也是赞叹不已——赞叹的结果便是这些片子被他们收藏，我要看的时候得去他们那儿看。

41) Blowing
Nikon D200 Digital Camera
Nikon 200 mm lens
Digital Camera custom modified to give Infra Red film look

39) Ribbon
Nikon F5 Camera
Nikon 85mm lens
Fuji Velvia 50 Transparency film

37) Hiding
Nikon F5 Camera
Nikon 85 mm lens
Fuji Velvia 50 Transparency film

35) Spin
Nikon F5 Camera
Nikon 300 mm lens
Fuji 800 Negative film