上海新航道雅思小編給考生們帶來了劍14Test2雅思閱讀Passage1原文翻譯：Alexander Henderson。希望幫助考生對(duì)照文本更好的研究真題，充分備考，爭(zhēng)取理想成績(jī)，實(shí)現(xiàn)留學(xué)夢(mèng)想。相應(yīng)的原文答案解析，請(qǐng)點(diǎn)擊：劍橋雅思14Test2閱讀Passage1答案解析 。

  劍14Test2雅思閱讀Passage1原文

  Alexander Henderson (1831-1913)

  Born in Scotland, Henderson emigrated to Canada in 1855 and became a well-known landscape photographer

  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.

  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.

  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.

  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.

  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.

  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.

  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 lntercolonial 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.

  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.

  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.

  劍14Test2雅思閱讀Passage1翻譯

Alexander Henderson (1831-1913)

Henderson出生于蘇格蘭，1855年移居至加拿大，成為著名的風(fēng)景攝影師

  Alexander Henderson1831年出生于蘇格蘭,是一位成功商人的兒子。他的祖父也叫Alexander,建立了家族企業(yè),之后成為蘇格蘭國(guó)民銀行的第一任主席。整個(gè)家族在蘇格蘭擁有大量土地。除了在愛丁堡的住宅外,還在該市東南方向約35英里外擁有名為 PressEstate的650英畝農(nóng)田。他們有時(shí)也住在 Press estate北部邊緣處的一座名為 Press Castle的公館, Alexander在那兒度過了大部分的童年時(shí)光:在臨近艾茅斯的海灘玩耍,或者在附近的溪流里釣魚。

  甚至在進(jìn)入愛丁堡郊區(qū)的 Murcheston學(xué)院讀書后, Henderson周末也會(huì)回到 Press。1849年,他開始了為期3年的學(xué)徒生涯,成為一名準(zhǔn)會(huì)計(jì)師。雖然他從未喜歡過經(jīng)商,但為了讓家人高興,他仍堅(jiān)持學(xué)習(xí)。然而,在1855年10月,他和妻子 Agnes Elder Robertson移居加拿大,并在蒙特利爾定居。

  大約在1857年, Henderson在蒙特利爾學(xué)習(xí)攝影,并很快成為一名狂熱的業(yè)余愛好者。他成為蘇格蘭裔加拿大攝影師 William notman的私人好友和同事。1860年,他們進(jìn)行了一次到尼亞加拉大瀑布的攝影之旅;1865年,他們共同試驗(yàn)將鎂粉照明作為人造光源。他們參加相同的協(xié)會(huì),并成為蒙特利爾藝術(shù)協(xié)會(huì)的創(chuàng)始成員。 Henderson作為主席主持了這個(gè)協(xié)會(huì)的第一次會(huì)議,該會(huì)議于1860年1月11日在 Notman的工作室舉行。

  盡管他們是好友,但兩人的攝影風(fēng)格大相徑庭。 Notman的風(fēng)景攝影因大膽的現(xiàn)實(shí)主義而聞名,而 Henderson前20年拍攝的作品充滿浪漫氣息,展示了英國(guó)風(fēng)景攝影傳統(tǒng)的強(qiáng)烈影響。他在藝術(shù)性和技術(shù)性上進(jìn)步很快,并于1865出版了第一部大型風(fēng)景攝影作品集。此作品集發(fā)行量有限(迄今只找到7本),名為《加拿大風(fēng)景與研》每一本的內(nèi)容都迥然不同,這是評(píng)估 Henderson早期作品的有用來源。

  1866年,他放棄經(jīng)商,開辦了一間攝影工作室,把自己宣傳成人像與風(fēng)景援彩師。大約從1870年起,他放棄了人像攝影,專注于風(fēng)景攝影和其他景觀攝影。他拍攝的大量城市生活照片展現(xiàn)了人們?cè)诮值馈⒎课莺图兄械幕顒?dòng),栩栩如生。盡管他最喜歡的是拍鳳景,但他經(jīng)常拍攝人們?cè)谔镩g耕種、在河上破冰或者在林間溪流中劃船的照片。人們對(duì)他拍攝的木材交易、汽船和瀑布等類型的照片需求很大,因此他能以此謀生。在19世紀(jì)80年代晩期之前,很少有攝影愛好或業(yè)余攝影的競(jìng)爭(zhēng),因?yàn)閿z影技術(shù)需要時(shí)間來練習(xí),并且攝影設(shè)備很重。人們希望購買攝影照片作為旅行的紀(jì)念品或禮物,而為了迎合這種市場(chǎng),Henderson將照相館中的庫存照片展示出來以供裝裱、鑲框或制成影集。

  Henderson時(shí)常在蒙特利爾和其他國(guó)外城市如倫敦、愛丁堡、都柏林、巴黎、紐約和費(fèi)城展出攝影作品。1877年和1878年,他在紐約獲得更大的成功,當(dāng)時(shí)他以 Lambertype攝影法在 E and H T Anthony and company舉辦的風(fēng)景攝影展中榮獲第一名。1878年,他的作品在巴黎世界展覽中贏得第二名。

  19世紀(jì)70年代和80年代, Henderson廣泛游歷了加拿大的魁北克省和安大略省,用影像記錄了兩省主要城市和魁北克省的許多村莊。他格外喜歡原野,經(jīng)常乘獨(dú)木舟漂流在白河、野兔河和其他著名的東部河流上。他去過加拿大濱海諸省好幾次,1872年,他曾乘游艇沿圣勞倫斯河下游的北部沿岸航行。同年,在圣勞倫斯河下游地區(qū),他拍攝了幾張殖民地際鐵路的施工照。他的這一舉動(dòng)促使鐵路方委托他拍攝記錄蒙特利爾和哈利法克斯之間幾近完工的鐵路線的主要結(jié)構(gòu)。隨后,其他鐵路的類似任務(wù)接踵而至。1876年,他拍攝了連接蒙特利爾和渥大華的魁北克一蒙特利爾一渥大華一西部鐵路的橋梁。1885年,他沿加拿大太平洋鐵路向西直到不列顛哥倫比亞省羅杰斯隘口,沿途拍攝了一些山脈和工程進(jìn)度的照片。

  1892年, Henderson接受了加拿大太平洋鐵路公司提供的全職工作,擔(dān)任由他成立和管理的攝影部門的經(jīng)理一職。工作職責(zé)要求他每年在野外待4個(gè)月。那年夏天,他第二次西行直到維多利亞市,沿途拍攝了大量鐵路沿線的照片。他一直擔(dān)任這個(gè)職位直到1897年從攝影界完全退休。

  1913年, Henderson去世時(shí),他家的地下室里儲(chǔ)存了他的大量玻璃底片。如今他的作品集保存在位于渥太華的加拿大國(guó)家檔案館和位于蒙特利爾的麥考得加拿大歷史博館。

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