For a new exhibition at London's Media Space at the Science Museum, Martin Parr has selected dozens of Tony Ray-Jones' photographs to be shown alongside some of his own rarely seen images from the 1970s. Photography: Kate Elliott

英国摄影师托尼·雷·琼斯于1972年去世，享年30岁.在他短暂的职业生涯中，雷-琼斯帮助改变了英国摄影，他的作品影响了整整一代人的摄影师，特别是年轻的马丁·帕尔。

今年秋天，雷-琼斯的工作和影响力在多个方面得到了庆祝。一本新书“1962-1965年美国色彩”(American Colour 1962-1965)收集了他在美国形成时期的照片，而“只在英国：托尼·雷·琼斯(Tony Ray-Jones)和马丁·帕尔(Martin Parr)的照片”是本·凯利(Ben Kelly)设计的新媒体空间在伦敦科学博物馆(Science Museum)的开幕秀。

雷-琼斯在伦敦印刷学院学习图形和摄影，后来获得耶鲁大学图形学奖学金，在纽约与传奇的康涅斯特艺术总监亚历克西·布罗多维奇一起工作和学习。不久他就全天投入摄影。

1965年，他带着巨大的野心和人类学家记录、分类、甚至庆祝消失中的部落的冲动(在“只有英格兰”节目中的信件和笔记本中清楚地表明了这一点)。他还决心把罗伯特弗兰克和他的朋友加里维农格兰格的“美国街头摄影”的“当面”、“戏剧”和“叙事驱动”引入到英语主题中去。

“美国色彩”(AmericanColour)由麦克出版，是纽约、底特律和佛罗里达州的代托纳海滩(Daytona海滩)拍摄的一组照片，许多照片都是和他的摄影师乔尔·梅耶罗维茨(Joel Meyerowitz)雷-琼斯称这些照片为“孤立的素描”，这是第一步，在威廉·埃格尔斯顿和斯蒂芬·肖尔之前的彩色拍摄中，这对于一个有着严肃意图的摄影师来说是一件可以接受的事情。如果这些图片只是暗示了接下来会发生什么，它们就会显示出一种不断发展的构图感和正确的主体的鼻子，以及与他们呆在一起的勇气。(希普斯塔玛恶魔会喜欢柯达克罗酷的)。

与此同时，“只在英国”(Only In England)是一项对1966年至1969年雷-琼斯在英国拍摄的照片的新调查，其中一些照片是在国际协力事业团(ICA)的第一次摄影节目“英格兰人看到的”(The English Seek)以及唐·麦卡林(Don McCullin)等人的作品这场展览包括60张由雷-琼斯印刷的照片和57张由马丁·帕尔印刷的照片(这次都是黑色和白色的)，经过一次彻底的拖网之后，谢菲尔德国家媒体博物馆(NationalMediaMuseum)保存了2700张联系表格和底片。这个节目的魅力之一在于帕尔如何对待他们，挑选最喜欢帕尔的人，炸掉他们。

当然，这次展览的重点是，雷·琼斯的英文照片在他去世四年后出版的“一天休假”一书中首次收集，对年轻的帕尔产生了多大的影响。这次展览还包括了帕尔的第一个主要项目“非形式主义者”(The non-Conformist)在70年代初拍摄于赫布登桥(Hebden Bridge)城内及周边地区的很少展出的照片(上个月Aperar首次以图书形式出版)。

雷-琼斯发现自己独特的英国社交剧院并不是在街上，而是在海滨度假胜地，但在打包后交易还没有下降，但显然很容易受到任何负担得起的替代方案的影响；在从格兰德伯恩到克鲁夫茨的嘉年华会和仪式活动上，以及在伊顿和马盖特(Margate)。但他们避免多愁善感或残忍；这里没有怪人的表演。

这些照片对于人与人之间的空间和被摄者本身来说都是很了不起的，几个故事在同一张照片中展开。奇怪的是，帕尔早期的照片更正式，更镇静，更没有乐趣。直到他的突破性著作“最后的度假村”，帕尔才真正发展了雷-琼斯开始，并把它带到其他地方，如果在相同的地方。

Entitled 'Only in England', the new survey encompasses pictures that Ray-Jones took in England between 1966 and 1969. The show includes 60 pictures printed by Ray-Jones and 57 printed by Martin Parr (all in black and white this time) after an exhaustive trawl though the 2700 contact sheets and negatives held by the National Media Museum in Sheffield. Photography: Kate Elliott

Watch photographs from the show unfold, as Greg Hobson, curator of photographs at the National Media Museum, explains how the exhibition came to fruition

'Man in deck chair, eyes covered', Blackpool, by Tony Ray-Jones, 1968 © National Media Museum

'Mankinholes Methodist Chapel, Todmorden', bu Martin Parr, 1975 © Martin Parr / Magnum

'Chair on Head', Brick Lane Market, by Tony Ray-Jones, 1966 © National Media Museum

'Tea hut', by Tony Ray-Jones, c. 1967 © National Media Museum

'Tom Greenwood cleaning', by Martin Parr, 1976 © Martin Parr / Magnum

'Man checking out woman on street', Carnaby Street, London, by Tony-Ray Jones, c. 1967 © National Media Museum

'Man in swimming trunks against caravan', by Tony Ray-Jones, 1967-68 © National Media Museum

'Women under umbrellas at picnic table', May Day Celebrations, by Tony Ray-Jones, c. 1967 © National Media Museum

Two books have recently been published that serve as companions to the material in the show. The first, Martin Parr's 'The Non-Conformists', was released by Aperture Foundation to coincide with the exhibition and shows his first body of work, many of which are on display in the gallery

A spread from the book depicts 'Firth's carpet factory, Bailiff Bridge' (left) and 'Knowles of Elland' (right)

A chapter on non-conformist chapels opens with a photograph inside Steep Lane Baptist Chapel

'Crimsworth Dean Methodist Chapel congregation attends Pecket Well Anniversary service' (left) and 'Pecket Well Methodist Chapel Anniversary service' (right)

'The Ancient Order of Henpecked Husbands annual general meeting, Easter Monday, Nazebottom Chapel', by Martin Parr

The second tome loosely tied to the exhibition, 'American Colour 1962-1865', focuses on Tony Ray-Jones’ photographs taken in New York as well as Detroit and Daytona Beach, Florida, many with his fellow photographer Joel Meyerowitz for company

Ray-Jones called these pictures 'isolated sketches', first steps, shot in colour before William Eggleston and Stephen Shore made that an acceptable thing to do for a photographer of serious intent

The book collects previously unpublished images from his formative stretch in the United States, offering a rare glimpse at the work he produced as a young artist in a new country

Ray-Jones once explained, 'I found America a very colour-conscious country. When I got back to England I found everything so grey that I didn't see the point of shooting in colour. To me, Britain is very much a black-and-white country'

And if these pictures only hint at what was to come, they show a developing compositional sense and a nose for the right subject and the nerve to stay with them

keywords:Science Museum, Media Space, London, exhibition, Tony Ray-Jones, Martin Parr, photography, books

关键词：科学博物馆，媒体空间，伦敦，展览，托尼·雷-琼斯，马丁·帕尔，摄影，书籍