Cue mist! Gregory Crewdson, the photographer with a cast, a crew and a movie-sized budget
迷雾重重！格雷戈里·克鲁森，一个摄影师与演员、电影团队、电影规模预算的碰撞 It took two years and was more work than some Hollywood films. Now Cathedral of the Pines – about lost souls in Appalachia – is coming to the UK. The photographer reveals the story behind his most personal series yet
这个系列花了2年时间拍摄，所花的精力甚至超过了一些好莱坞电影。现在《松树大教堂》——一个关于在阿巴拉契亚（美国东部一个地区）失去的灵魂的故事——将来到英国。摄影师揭示了至今为止他拍摄背后最独家的个人故事。 In 2013, in retreat from “a difficult divorce”, Gregory Crewdson moved from Manhattan to a converted church in rural Massachusetts. “I had to relocate myself, physically and psychologically,” says the photographer. So he spent his time mountain trekking, long-distance swimming and, when the winter set in, cross-country skiing.
2013年，格雷戈里·克鲁森从一次“艰难的离婚”抽身而出后，从曼哈顿搬到马萨诸塞州的农村里一座由教堂改建的住宅里。摄影师说：“我不得不在身体和心理上搬迁自己。”所以他花了很多时间在山上徒步旅行，长距离游泳，而当冬天到来时，就去越野滑雪。
“I was out in the snow one day when I came upon a sign for a section of the Appalachian Trail called Cathedral of the Pines,” he adds. “It stopped me in my tracks, just the resonance of the name. I knew I had to use it.”
“有一天我正在雪地里漫步，当我看到前面出现了一个路牌写着阿巴拉契亚小径的‘松树大教堂’的标志时，”他补充说，“我突然停下来，与这个名字产生了共鸣。我知道我不得不使用它。”
The resulting series is more sombre, foreboding and inward-looking than the meticulously staged cinematic photographs that made his name. It opens this week at the Photographers’ Gallery in London, the first time the institution has devoted all its gallery space to a single artist.
由此产生的系列作品，比起它的名字更富有电影感，也更加阴沉、前瞻和内敛。本周在伦敦摄影画廊开幕，该机构首次将所有画廊空间用于一位艺术家。 Cathedral of the Pines took two and a half years to shoot and, typically for Crewdson, required the kind of preparation that usually attends a Hollywood film: months of casting, location hunting and storyboarding, with an extensive crew to oversee lighting, props, wardrobe, makeup and even some special effects involving artificial smoke and mist.
《松树大教堂》花了两年半的时间拍摄，而且对于克鲁森来说，通常需要用到好莱坞片场级别的准备工作：几个月的选角，外景踩点和故事板制作，同时拥有一整个团队来监督照明、道具、服装、化妆，甚至一些人造烟雾的特殊效果。
“By my standards, it was relatively restrained,” he says, laughing and citing his 2008 series Beneath the Roses, which cost as much as a mid-budget movie and entailed four city streets being closed down for shots that required rain and snow-making machines.
“按照我的标准，它是相对克制的，”他笑着说，并援引了他的2008年的系列作品《玫瑰之下》
，它花费了一个中等规模电影的预算，并关闭了城市中的四条街道，用来制造下雨和下雪的效果。
Cathedral of the Pines was challenging in a different way. “These pictures are smaller in scale and, to a degree, they were more difficult because they were less spectacular. You have to create meaning and atmosphere in a more intimate way, which makes lighting, for instance, a lot more challenging.”
《松树大教堂》在许多不同的方面都具有挑战性。“这些照片规模较小，在某种程度上，他们更难，因为它们不那么壮观。你必须以更亲密的方式创造意义和气氛，这使得照明更具挑战性。”
While still meticulously staged, these portraits seem more revealing and intimate in their evocation of individual souls who seem lost and adrift, despite the trappings of home and material success. The location is the small town of Becket, close to where he lives, and instead of actors and models, the subjects are people Crewdson knows, including his partner and creative collaborator, Juliane Hiam, and her daughter, Harper.
拍摄环境经过了细致地布置，这些肖像似乎更能揭示和唤起人们亲密关系中的迷失和疏远，无论他们的家庭陈设多么成功。拍摄的地点选在小城镇贝克，靠近他住的地方，和惯常使用演员和模特不同，这一次克鲁森使用他熟识的朋友，包括他的合作伙伴和创意合作者朱莉安·希姆和她的女儿哈珀。
“There is a definite shift, but they are not directly autobiographical,” he says. “Some people have even noted that the work is a reflection of the mood in America at the moment, but that, too, was not intentional. Despite the preparation, a lot of what I do arrives out of another place deep in the unconscious and I am compelled to explore it. I didn’t set out to make this new iconography, but there it is all the same.”
“这无疑是一次巨大的转变，但它们不是直接的自传，”他说。“有些人甚至指出，这部作品正反映出了现今美国的情绪，但这不是有意而为的。尽管做好了准备，但是我做的很多事情都是从无意识深处出发，最终到达了不同的地方，我不得不去探索它。我并没有打算做这套新的肖像，但是一切都是一样的。“
Crewdson is a master of atmosphere. The characters who inhabit these stilled moments se
em marooned in their own thoughts to the point of torpor, while the titles are functional to the point of deadpan: Woman Seated On Bed, The Basement, The Motel. The films of Alfred Hitchcock and David Lynch are often cited as touchstones for his earlier work, but this time the tone is reminiscent of stories by Raymond Carver, in which damaged individuals gravitate towards each other in drab motel rooms and darkly lit bars, but never really connect.
克鲁森是气氛的主人。居住在这些静止的时刻的人物似乎在自己的想法中被嘲笑到了这个角度，而标题在功能上是无效的：女人坐在床上，地下室，汽车旅馆。阿尔弗雷德·希区柯克Alfred Hitchcock和大卫·林奇David Lynch的电影经常被认为是他早期的作品的灵感来源，但是这一次，调让人联想到雷蒙德·卡佛Raymond Carver的故事，在这些故事中，受伤的个人在邋遢的汽车旅馆房间和黑暗的酒吧里相互吸引，但从未真的连接。
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