第1段

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.

第2段

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.

第2段

即使他在爱丁堡郊区的默切斯顿学院上学后，亨德森每个周末还是会回到普雷斯。1849年，他开始了为期三年的会计学徒期。尽管他从未喜欢过商业生涯的前景，但为了取悦家人，他一直坚持下去。然而，1855年10月，他与妻子阿格尼丝·埃尔德·罗伯逊（Agnes Elder Robertson）移民加拿大，并定居在蒙特利尔。

第3段

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.

第3段

亨德森在蒙特利尔学习摄影约在1857年左右，并迅速成为一位认真的摄影业余爱好者。他成为苏格兰裔加拿大摄影师威廉·诺特曼（William Notman）的个人朋友和同事。这两位摄影师在1860年一起进行了一次到尼亚加拉瀑布的摄影之旅，并在1865年合作进行了镁光灯为人工光源的实验。他们是同一家协会的成员，并且是蒙特利尔艺术协会的创始会员之一。亨德森在协会的第一次会议上担任主席，该会议于1860年1月11在诺特曼的工作室举行。

第4段

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.

第4段

尽管他们是朋友，他们的摄影风格却截然不同。而诺特曼的风景摄影以其大胆的写实主义而闻名，亨德森在他职业生涯的前20年里则创作了浪漫的影像，显示出英国风景传统的强烈影响。他的艺术和技术进步迅速，1865年他出版了他的第一本重要的风景摄影集。该出版物发行有限（迄今只发现了7本副本），名为《加拿大景观与研究》。每本副本的内容差异明显，已被证明是评估亨德森早期作品的有用来源。

第5段

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.

第5段

从约1870年开始，他放弃了肖像摄影，专门从事风景摄影和其他景观摄影。他大量拍摄的城市生活照片中的街景、房屋和市场充满了人类活动的生机，尽管他最喜欢的主题是风景，但他通常会围绕农耕、河流上的冰块切割或沿着林地小溪航行等人类活动来构图。这些类型的场景以及他拍摄的描绘伐木业、蒸汽船和瀑布的照片足以让他谋生。由于涉及耗时的技术和设备的重量，直到19世纪80年代后期才出现了足够多的业余摄影。人们希望购买照片作为旅行纪念品或礼物，亨德森在他的工室展示了现成的照片供装裱、框架或放入相册。

第6段

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.

第6段

亨德森经常在蒙特利尔和国外（伦敦、爱丁堡、都柏林、巴黎、纽约和费城）展出他的摄影作品。他在1877年和1878年在纽约举办的E和H T Anthony公司的展览中以使用兰帕型胶卷的风景摄影获得了更大的成功。在1878年的巴黎世界博览会上，他的作品获得了第二名。

第7段

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 Intercolonial 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.

第7段

在19世纪70年代和80年代，亨德森在加拿大魁北克和安大略两省广泛旅行，记录了这两个省的主要城市和许多魁北克的村庄。他特别喜欢荒野，经常乘独木舟游览布兰奇、杜利弗等著名的东部河流。他多次去过海洋省份，1872年他乘游艇沿着圣劳伦斯河下游北岸航行。同年，他在下圣劳伦斯河地区拍摄了一些关于洲际铁路建设的照片。这项工程在1875年为他赢得了铁路委员会的委托，记录了连接蒙特利尔和哈利法克斯的几乎完工的铁路线上的主要建筑。之后，他获得了其他铁路的委托。在1885年，他沿着加拿大太平洋铁路（CPR）一直向西到不列颠哥伦比亚省的罗杰斯山口，在那里拍摄了山脉和建设进展的照片。

第8段

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.

第8段

1892年，亨德森接受了加拿大太平洋铁路的全职工作，担任一个他要建立和管理的摄影部门的经理。他的职责包括每年在野外度过四个月。那个夏天，他进行了第二次西行之旅，沿着铁路线广泛拍摄，一直到维多利亚。他一直担任这个职位直到1897年，当时他完全退出了摄影行业。

第9段

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.

第9段

当亨德森于1913年去世时，他庞大的玻璃底片收藏存放在他家的地下室。如今，他的作品收藏分别在加拿大国家档案馆（位于渥太华）和加拿大历史麦考德博物馆（位于蒙特利尔）展出。