You probably know the name Anne Geddes. If you Google “famous photographers,” she pops up in suggested names, sandwiched right between Andy Warhol and Weegee.
你可能對(duì)”安妮·格迪斯”這個(gè)名字略有耳聞。如果你上網(wǎng)搜索“著名攝影師”，你會(huì)發(fā)現(xiàn)他的名字就在搜索引擎提供的提示姓名里，夾在安迪·沃霍爾和維嘉之間。

If, for some reason, you do not know Anne Geddes’ name, you most certainly would recognize her work. She did those photos of babies dressed up as bunnies and cabbages and gingerbread men and other harder-to-distinguish objects. She did those adorable yet slightly unsettling visions of teeny newborns stuffed inside very large pockets and, once, chilling in a faux amniotic sac with Celine Dion. She made the calendar that hung on your kitchen wall in the late ‘90s and the birthday card you hoped would have $20 inside it, but didn’t.
如果出于某些原因，你沒聽過她的名字，那你也一定會(huì)認(rèn)識(shí)她的作品。她曾經(jīng)拍過一組嬰兒照片，照片中的嬰兒被裝扮成各式各樣的生物，有小兔，圓白菜，姜餅人，令人真假難辨。通過將小小的嬰兒放在一個(gè)大大的包裝中，她營(yíng)造出了一種可愛卻又稍帶俏皮的視覺效果。甚至有一次，她將小嬰兒和席琳迪翁放在了一個(gè)人造的羊膜中拍照，此舉贏得了滿堂喝彩。印著她攝影作品的掛歷曾經(jīng)風(fēng)靡了上世紀(jì)90年代末的廚房，同系列的生日賀卡曾經(jīng)讓你產(chǎn)生過里面有二十美元的錯(cuò)覺。

When Geddes first started taking pictures, she was 25 years old and living in Hong Kong with her husband, who had taken a job in television. She started off by photographing families in their own environments, but felt that setup didn’t allow her to find her own style. Then something clicked when, a few years later in the 1980s, Geddes saw an ad for a studio photographer in Melbourne.
格迪斯在25歲時(shí)開始從事攝影，那時(shí)她的丈夫在香港電視臺(tái)工作，他們就住在那里。格迪斯一開始去家里給人們拍家庭照，然而她發(fā)現(xiàn)這并不能使她發(fā)掘自己風(fēng)格。然而機(jī)遇來的悄無聲息，幾年后 ，格迪斯看到墨爾本一家攝影室的招聘廣告。

“There was very simple lighting, a very simple canvas backdrop,” Geddes said of the studio. “A pin dropped and I thought, that’s what I want to do. I want to dictate the environment and control the lighting.” Geddes volunteered to be the photographer’s unpaid assistant. “The moment I first walked into a photographic studio everything fell into place.”
“都是一些很簡(jiǎn)單的活兒，打光，布景”格迪斯是這樣回憶在攝影室的工作的，“我突然靈光一閃，覺得這就是我真正想做的工作，我想要控制背景和燈光?！庇谑牵栽府?dāng)起了攝影師們的免費(fèi)助理。她說：“走進(jìn)攝影棚的那一刻，我覺得一切都變得豁然開朗了。”

As a studio photographer, Geddes began with straight-up baby portraits, no frills. And then a greeting card company approached her to make a line, so she began delving into more experimental sets and costumes. “Once you start doing greeting cards, of course, you have to do seasonal images,” she said. And then came the calendars, and thus, more costumes. The more festive the threads, it seemed, the more attention Geddes’ work received.
在工作室時(shí)，格迪斯從純粹的不加任何矯飾的嬰兒攝影做起。不久后，一個(gè)賀卡的生產(chǎn)商聯(lián)系她想要出一個(gè)系列，于是她開始致力于嘗試給嬰兒穿上各種套裝和戲服。她說：“一旦涉及到賀卡領(lǐng)域，你就要根據(jù)季節(jié)設(shè)計(jì)出不同形象。”之后她涉足了掛歷行業(yè)，并因此嘗試了更多的服裝。她的服裝越出彩，她受到的關(guān)注就越多。

In case you were curious, Geddes is still taking photos of babies today. In her most recent series, she transforms babies into symbols of the zodiac ― a baby lion for Leo, a cocoon of twin butterflies for Gemini. She’s also working on a series called “Baby Look at You Now,” where she juxtaposes ‘90s baby photos with pictures of her subjects all grown up. If you posed for Anne Geddes at any point in your life, you’re welcome to submit.
時(shí)至今日，格迪斯仍舊從事著嬰兒攝影的工作。在她最近發(fā)布的一系列作品中，她將嬰兒化身為黃道十二宮的標(biāo)志——小獅子的造型象征著獅子座，蠶蛹里包著兩只蝴蝶象征著雙子座。她還致力于推出一個(gè)新系列，名為“寶貝，看看現(xiàn)在的你”，將90后嬰兒時(shí)期的照片與他們長(zhǎng)大成人后的照片放在一張圖上。不論何時(shí)，如果你想成為安妮·格迪斯這個(gè)系列的主角,歡迎上傳你的作品。

“When I first started, I said I wanted to be the most successful portrait photographer in Auckland,” she said. “Then I said I wanted to be the most well-known in New Zealand and then, Australia ― and the rest is history.”
“最初，我只想成為奧克蘭最成功的人像攝影師，”格迪斯說“不久后我想成為整個(gè)新西蘭最著名的攝影師，再之后，我想成為全澳州的No.1，而之前的所有想法都成為了過去。”

Is Anne Geddes implying she is the most successful portrait photographer in the world? I, for one, would not object to this statement.
格迪斯是否在暗示她是世界上最著名的人像攝影師呢？我個(gè)人覺得，她當(dāng)之無愧。

Maybe not every, but certainly most. “Every fine artist wants to be commercial, and I’ve always found that a bit of a conundrum,” Geddes continued. “Most have an exhibition in a gallery, they sell some work, and then a book is published. I came at it from the other way. There was nobody going down the same road as me. I was just doing what I wanted to do creatively. Forging new paths.”
并不是所有的的藝術(shù)家都渴望成功，但大部分人肯定是想的?！懊總€(gè)優(yōu)秀的藝術(shù)家都想要被商業(yè)化，我總覺得這個(gè)現(xiàn)象有點(diǎn)類似于難解的謎團(tuán)”格迪斯接著說：“大部分人都會(huì)在畫廊辦展覽，賣掉作品，緊接著出書。而我獲得成功的方式與眾不同，沒有人跟我一樣。我只是做一些做自己認(rèn)為有創(chuàng)造性的事情。另辟蹊徑，不走尋常路。”

This is a story about an artist who changed my life, who inspired me, albeit in a roundabout way, to embark upon the first piece of art writing I’d ever created. I was ashamed to say it then, but 10 years later, I’m ready. I love Anne Geddes and all her weirdly dressed babies. I love them. I love them. Oh my god, they’re so cute and weird, I love them so much.
這就是安妮·格迪斯的故事，她改變了我的生活，激勵(lì)我不斷前進(jìn)。盡管她只是間接地使我創(chuàng)作出了人生的第一篇作品。當(dāng)時(shí)我還羞于承認(rèn)這一點(diǎn)，但十年后的今天，我已經(jīng)做好了充分的心理準(zhǔn)備。我愛上了格迪斯和她鏡頭下穿著怪異的嬰兒們。哦，他們怪異得如此可愛，我對(duì)他們真是愛到骨子里