12:37
TED2016

Stephen Wilkes: The passing of time, caught in a single photo

Stiven Vilks (Stephen Wilkes): Proticanje vremena, zabeleženo na jednoj fotografiji

Filmed:

Fotograf Stiven Vilks stvara zapanjujuće kompozicije pejzaža dok oni prelaze iz dana u noć, istražujući prostorno-vremenski kontinuum u okviru dvodimenzionalne nepokretne fotografije. Otputujte sa njim na upečatljive lokacije kao što su most Turnel u Parizu, El Kapitan u nacionalnom parku Josemiti i na pojilo koje daje život u srcu Serengetija, u ovom obilasku njegove umetnosti i procesa.

- Narrative photographer
By blending up to 100 still photographs into a seamless composite that captures the transition from day to night, Stephen Wilkes reveals the stories hidden in familiar locations. Full bio

Pokreće me čista strast
00:13
I'm driven by pure passion
da stvaram fotografije koje iznose priču.
00:15
to create photographs that tell stories.
Fotografija se može opisati
kao zapis pojedinačnog trenutka
00:18
Photography can be described
as the recording of a single moment
zamrznutog u deliću vremena.
00:23
frozen within a fraction of time.
Svaki trenutak ili fotografija
predstavlja opipljiv deo
00:26
Each moment or photograph
represents a tangible piece
naših sećanja dok vreme prolazi.
00:30
of our memories as time passes.
Međutim, šta ako biste mogli da uhvatite
više od jednog trenutka na fotografiji?
00:33
But what if you could capture more
than one moment in a photograph?
Šta ako bi fotografija
zapravo mogla da uruši vreme,
00:37
What if a photograph
could actually collapse time,
sažimajući najbolje trenutke dana i noći
00:41
compressing the best moments
of the day and the night
neprimetno u jednu sliku?
00:44
seamlessly into one single image?
Stvorio sam koncept zvani „iz dana u noć“
00:47
I've created a concept
called "Day to Night"
i smatram da će promeniti
00:50
and I believe it's going to change
način na koji sagledavate svet.
00:51
the way you look at the world.
Znam da jeste za mene.
00:53
I know it has for me.
Moj proces započinje
fotografisanjem upečatljivih lokacija,
00:55
My process begins by photographing
iconic locations,
mesta koja su deo onoga što nazivam
našim kolektivnim sećanjem.
00:59
places that are part of what I call
our collective memory.
Fotografišem sa fiksirane povoljne tačke
i nikada se ne pomeram.
01:03
I photograph from a fixed vantage point,
and I never move.
Beležim prolazne trenutke
čovečanstva i svetlosti dok vreme prolazi.
01:07
I capture the fleeting moments
of humanity and light as time passes.
Fotografišem negde između 15 do 30 sati
01:11
Photographing for anywhere
from 15 to 30 hours
i uslikam preko 1 500 slika,
01:14
and shooting over 1,500 images,
a zatim odaberem
najbolje momente dana i noći.
01:17
I then choose the best moments
of the day and night.
Koristeći vreme da me vodi,
01:21
Using time as a guide,
neprimetno spojim te najbolje momente
u jednu fotografiju,
01:23
I seamlessly blend those best moments
into one single photograph,
vizualizujući naše svesno putovanje
kroz vremene.
01:27
visualizing our conscious
journey with time.
Mogu vas odvesti u Pariz
01:31
I can take you to Paris
da vidite pogled sa mosta Turnel.
01:33
for a view from the Tournelle Bridge.
Mogu vam pokazati veslače u rano jutro
01:36
And I can show you the
early morning rowers
duž reke Sene.
01:38
along the River Seine.
U isto vreme
01:40
And simultaneously,
vam mogu pokazati osvetljen Notr Dam noću.
01:42
I can show you Notre Dame aglow at night.
Između vam mogu pokazati
romantiku grada svetlosti.
01:45
And in between, I can show you
the romance of the City of Light.
Ja sam u suštini ulični fotograf
sa 15 metara u vazduhu
01:51
I am essentially a street photographer
from 50 feet in the air,
i baš sve što vidite na ovoj fotografiji
01:55
and every single thing you see
in this photograph
zapravo se dogodilo ovog dana.
01:57
actually happened on this day.
„Iz dana u noć“ je globalni projekat,
02:02
Day to Night is a global project,
a moj rad se uvek ticao istorije.
02:04
and my work has always been about history.
Fasciniran sam konceptom
odlaska na mesto poput Venecije
02:07
I'm fascinated by the concept
of going to a place like Venice
i zapravo je videti
tokom specifičnog događaja.
02:11
and actually seeing it during
a specific event.
Rešio sam da hoću da vidim
istorijsku regatu,
02:13
And I decided I wanted to see
the historical Regata,
događaj koji se održava od 1498 godine.
02:17
an event that's actually been
taking place since 1498.
Čamci i kostimi izgledaju
baš kao što su izgledali tada.
02:21
The boats and the costumes
look exactly as they did then.
Važan element
koji zaista želim da razumete
02:26
And an important element that I really
want you guys to understand is:
je da ovo nije fotografija
ubrzanog prolaska vremena,
02:30
this is not a timelapse,
već to ja fotografišem
tokom celog dana i noći.
02:31
this is me photographing
throughout the day and the night.
Neumoran sam sakupljač čarobnih trenutaka.
02:37
I am a relentless collector
of magical moments.
Ono što me pokreće je strah
da ću propustiti samo jedan od njjih.
02:40
And the thing that drives me
is the fear of just missing one of them.
Čitav koncept je nastao 1996. godine.
02:48
The entire concept came about in 1996.
Časopis Lajf mi je naručio
da napravim panoramsku fotografiju
02:52
LIFE Magazine commissioned me
to create a panoramic photograph
glumaca i ekipe na filmu
„Romeo i Julija“ Baza Lurmana.
02:57
of the cast and crew of Baz Luhrmann's
film Romeo + Juliet.
Došao sam na postavku
i shvatio da je u obliku kvadrata.
03:02
I got to the set and realized:
it's a square.
Stoga je jedini način na koji sam mogao
da napravim panoramu
03:06
So the only way I could actually create
a panoramic was to shoot a collage
bio da uslikam kolaž
od 250 pojedinačnih slika.
03:10
of 250 single images.
Imao sam Dikaprija
i Kler Dejns u zagrljaju.
03:13
So I had DiCaprio and Claire Danes
embracing.
03:16
And as I pan my camera to the right,
Kako sam usmerio kameru nadesno,
primetio sam ogledalo na zidu
03:19
I noticed there was a mirror on the wall
i video sam njihov odraz u njemu.
03:22
and I saw they were
actually reflecting in it.
Za taj trenutak, za tu sliku,
03:24
And for that one moment, that one image
upitao sam ih: „Da li biste se poljubili
03:26
I asked them, "Would you guys just kiss
samo sa ovu jednu sliku?“
03:28
for this one picture?"
Zatim sam se vratio
u svoj studio u Njujorku
03:30
And then I came back
to my studio in New York,
i ručno sam zalepio
ovih 250 slika jednu za drugu,
03:32
and I hand-glued these 250 images together
odmakao se i rekao:
„Vau, ovo je tako kul!
03:36
and stood back and went,
"Wow, this is so cool!
Menjam vreme na fotografiji.“
03:39
I'm changing time in a photograph."
Taj koncept sam zapravo zadržao 13 godina,
03:42
And that concept actually
stayed with me for 13 years
sve dok tehnologija
konačno nije sustigla moje snove.
03:46
until technology finally
has caught up to my dreams.
Ovo je slika pristaništa Santa Monika
koju sam stvorio, iz dana u noć.
03:51
This is an image I created
of the Santa Monica Pier, Day to Night.
Pokazaću vam mali snimak
03:54
And I'm going to show you a little video
koji vam daje predstavu
o tome kako je biti sa mnom
03:56
that gives you an idea of what
it's like being with me
kada radim ovakve fotografije.
03:59
when I do these pictures.
Za početak, morate shvatiti da,
da bih dobio ovakve poglede,
04:01
To start with, you have to understand
that to get views like this,
većinu svog vremena provodim u visinama
i obično sam na dizalici sa korpom
04:04
most of my time is spent up high,
and I'm usually in a cherry picker
ili na kranu.
04:08
or a crane.
Ovo je tipičan dan, 12-18 sati,
04:09
So this is a typical day,
12-18 hours, non-stop
neprekidno slikanje
celog dana dok se odvija.
04:13
capturing the entire day unfold.
Jedna od sjajnih stvari
je to što volim da posmatram ljude.
04:16
One of the things that's great
is I love to people-watch.
Verujte kada vam kažem,
04:19
And trust me when I tell you,
ovo je najbolje mesto koje možete imati.
04:20
this is the greatest seat
in the house to have.
Tako ja pristupam
stvaranju ovih fotografija.
04:24
But this is really how I go about
creating these photographs.
Jednom kada donesem odluku
o pogledu i lokaciji,
04:27
So once I decide on my view
and the location,
moram da odlučim gde dan počinje
i gde se noć završava.
04:31
I have to decide where day begins
and night ends.
To je ono što zovem „vektor vremena“.
04:34
And that's what I call the time vector.
Ajnštajn je opisao vreme kao tkanje.
04:37
Einstein described time as a fabric.
Zamislite površinu trampoline;
04:41
Think of the surface of a trampoline:
krivi se i isteže usled gravitacije.
04:43
it warps and stretches with gravity.
Vreme, takođe, sagledavam kao tkanje,
04:46
I see time as a fabric as well,
izuzev što uzmem to tkanje i poravnam ga,
sabijem ga u jednu ravan.
04:49
except I take that fabric and flatten it,
compress it into single plane.
Jedan od jedistvenih aspekata
ovog rada je takođe,
04:55
One of the unique aspects
of this work is also,
ako pogledate sve moje slike,
04:57
if you look at all my pictures,
da se vektor vremena menja -
04:58
the time vector changes:
ponekad ću ići sleva nadesno,
05:00
sometimes I'll go left to right,
ponekad spolja ka nazad,
gore ili dole, čak i dijagonalno.
05:02
sometimes front to back,
up or down, even diagonally.
Istražujem prostorno-vremenski kontinuum
05:07
I am exploring the space-time continuum
u okviru dvodimenzionalne
nepokretne fotografije.
05:10
within a two-dimensional still photograph.
Kada radim ovakve slike,
05:13
Now when I do these pictures,
bukvalno kao da mi se u umu
odvija slagalica u realnom vremenu.
05:15
it's literally like a real-time puzzle
going on in my mind.
Pravim fotografiju na osnovu vremena,
05:18
I build a photograph based on time,
a ovo je ono što nazivam glavnom podlogom.
05:21
and this is what I call the master plate.
Može nam biti potrebno
nekoliko meseci da završimo.
05:23
This can take us several
months to complete.
Ono što je zabavno u vezi sa ovim radom
05:27
The fun thing about this work is
je to da nemam apsolutno nikakvu kontrolu
kada se tamo podignem
05:29
I have absolutely zero control
when I get up there
bilo kog dana i slikam fotografije.
05:32
on any given day and capture photographs.
Dakle, nikada ne znam ko će biti na slici,
05:35
So I never know who's
going to be in the picture,
da li će biti sjajan izlazak
ili zalazak sunca - nemam kontrolu.
05:37
if it's going to be a great
sunrise or sunset -- no control.
Tek na kraju procesa,
05:40
It's at the end of the process,
ako sam imao zaista sjajan dan
i sve je ostalo isto,
05:42
if I've had a really great day
and everything remained the same,
tada odlučujem ko ostaje, a ko ne,
05:45
that I then decide who's in and who's out,
a to je sve zasnovano na vremenu.
05:48
and it's all based on time.
Uzimam te najbolje trenutke
koje biram tokom mesec dana uređivanja
05:49
I'll take those best moments that I pick
over a month of editing
i oni se neprimetno spoje
sa glavnom podlogom.
05:53
and they get seamlessly blended
into the master plate.
Sabijam dan i noć
05:58
I'm compressing the day and night
onako kako sam ih video,
06:00
as I saw it,
stvarajući jedinstvenu harmoniju
između ova dva vrlo oprečna sveta.
06:02
creating a unique harmony between
these two very discordant worlds.
Slikarstvo je oduvek predstavljalo
zaista veliki uticaj u celokupnom mom radu
06:07
Painting has always been a really
important influence in all my work
i oduvek sam bio veliki obožavatelj
Alberta Birštata,
06:11
and I've always been a huge fan
of Albert Bierstadt,
velikog slikara škole reke Hadson.
06:13
the great Hudson River School painter.
On je inspirisao seriju
06:15
He inspired a recent series
that I did on the National Parks.
o nacionalnim parkovima
koju sam nedavno uradio.
Ovo je Birštatova „Dolina Josemiti“.
06:19
This is Bierstadt's Yosemite Valley.
Ovo je fotografija Josemitija
koju sam ja napravio.
06:22
So this is the photograph
I created of Yosemite.
To je zapravo naslovna priča
06:25
This is actually the cover story
of the 2016 January issue
sa izdanja Nacionalne geografije
iz januara 2016. godine.
06:29
of National Geographic.
Fotografisao sam
preko 30 sati na ovoj slici.
06:31
I photographed for over
30 hours in this picture.
Bio sam bukvalno sa strane litice,
06:34
I was literally on the side of a cliff,
hvatajući zveze i mesečinu
dok prave prelaz,
06:37
capturing the stars
and the moonlight as it transitions,
mesečinu koja osvetljava El Kapitan.
06:41
the moonlight lighting El Capitan.
Takođe sam uhvatio
ovu promenu vremena kroz čitav predeo.
06:42
And I also captured this transition
of time throughout the landscape.
Najbolji deo očigledno predstavlja
videti čarobne trenutke čovečanstva
06:47
The best part is obviously seeing
the magical moments of humanity
dok se vreme menja,
06:51
as time changed --
iz dana u noć.
06:54
from day into night.
Što se mene lično tiče,
06:58
And on a personal note,
zapravo sam imao fotokopiju
Birštatove slike u svom džepu.
06:59
I actually had a photocopy
of Bierstadt's painting in my pocket.
Kada je sunce počelo
da se pomalja u dolini,
07:03
And when that sun started
to rise in the valley,
bukvalno sam počeo da drhtim od uzbuđenja
07:06
I started to literally shake
with excitement
jer sam pogledao sliku i rekao:
07:08
because I looked at the painting and I go,
„O bože, dobijam potpuno isto osvetljenje
07:10
"Oh my god, I'm getting Bierstadt's
exact same lighting
kao i Birštat pre 100 godina.“
07:14
100 years earlier."
„Iz dana u noć“ se odnosi na sve stvari,
07:17
Day to Night is about all the things,
poput zbirke je svih stvari koje volim
07:20
it's like a compilation of all
the things I love
07:22
about the medium of photography.
u vezi sa medijem fotografije.
Tiče se pejzaža,
07:25
It's about landscape,
ulične fotografije,
07:26
it's about street photography,
boje, arhitekture,
07:28
it's about color, it's about architecture,
perspektive, razmere i,
pogotovo, istorije.
07:30
perspective, scale --
and, especially, history.
Ovo je jedan od trenutaka
najprožetijih istorijom
07:34
This is one of the most historical moments
koje sam mogao da fotografišem,
07:36
I've been able to photograph,
predsednička inauguracija
Baraka Obame 2013. godine.
07:37
the 2013 Presidential Inauguration
of Barack Obama.
Ako pogledate pažljivo ovu sliku,
07:41
And if you look closely in this picture,
možete zapravo da vidite
kako se menja vreme
07:43
you can actually see time changing
na tim velikim televizijskim prijemnicima.
07:45
in those large television sets.
07:47
You can see Michelle
waiting with the children,
Možete videti Mišel koja čeka sa decom,
predsednik sada pozdravlja gomilu,
07:50
the president now greets the crowd,
polaže zakletvu,
07:52
he takes his oath,
a sada se obraća ljudima.
07:53
and now he's speaking to the people.
Postoji mnogo problematičnih aspekata
kada stvaram ovakve fotografije.
07:56
There's so many challenging aspects
when I create photographs like this.
Konkretno za ovu fotografiju,
08:01
For this particular photograph,
bio sam 15 metara u vazduhu
na platformi na makaze
08:03
I was in a 50-foot scissor lift
up in the air
i nije baš bila stabilna.
08:06
and it was not very stable.
Zato, svaki put kada bismo
moj asistent i ja prebacivali težinu,
08:08
So every time my assistant and I
shifted our weight,
menjala nam se linija horizonta.
08:11
our horizon line shifted.
Stoga za svaku sliku koju vidite,
08:12
So for every picture you see,
a bilo ih je oko 1 800 na ovoj slici,
08:14
and there were about
1,800 in this picture,
obojica smo morali da zalepimo stopala
u određenom položaju
08:16
we both had to tape our feet into position
svaki put kada bih okinuo.
08:19
every time I clicked the shutter.
(Aplauz)
08:22
(Applause)
Naučio sam toliko toga izuzetnog
kroz ovaj rad.
08:26
I've learned so many extraordinary
things doing this work.
Mislim da su dve najvažnije stvari
08:30
I think the two most important
are patience
bile strpljenje i moć posmatranja.
08:34
and the power of observation.
Kada fotografišete grad
kao što je Njujork odozgo,
08:36
When you photograph a city
like New York from above,
otkrio sam da ti ljudi u automobilima
08:40
I discovered that those people in cars
sa kojima na neki način živim
iz dana u dan
08:42
that I sort of live with everyday,
ne izgledaju više
kao ljudi u automobilima.
08:44
they don't look like people
in cars anymore.
Deluju kao ogromno jato riba.
08:46
They feel like a giant school of fish,
To je kao vrsta ponašanja koje se javlja.
08:49
it was a form of emergent behavior.
Kada ljudi opisuju energiju Njujorka,
08:52
And when people describe
the energy of New York,
mislim da ova fotografija
počinje da to zaista obuhvata.
08:55
I think this photograph begins
to really capture that.
Kada pogledate pažljivije moj rad,
08:58
When you look closer in my work,
možete videti da se tu odvijaju priče.
09:00
you can see there's stories going on.
Shvatate da je Tams skver kanjon,
09:02
You realize that Times Square is a canyon,
senka i sunčeva svetlost.
09:05
it's shadow and it's sunlight.
Odlučio sam da ću, na ovoj fotografiji,
napraviti šahovsku tablu vremena.
09:07
So I decided, in this photograph,
I would checkerboard time.
Gde god se nalaze senke, noć je,
09:11
So wherever the shadows are, it's night
a gde god je sunce, tu je dan.
09:13
and wherever the sun is,
it's actually day.
Vreme je izvanredna stvar
09:16
Time is this extraordinary thing
koju nikad ne možemo zaista da pojmimo.
09:18
that we never can really
wrap our heads around.
Ipak, na vrlo jedinstven
i specijalan način,
09:21
But in a very unique and special way,
smatram da ove fotografije
počinju da daju predstavu o vremenu.
09:23
I believe these photographs
begin to put a face on time.
One oličavaju novu metafizičku
vizualnu stvarnost.
09:28
They embody a new
metaphysical visual reality.
Kada provedete 15 sati
gledajući jedno mesto,
09:34
When you spend 15 hours
looking at a place,
posmatraćete stvari malo drugačije
09:38
you're going to see things
a little differently
nego da smo vi ili ja prišli sa kamerom,
09:41
than if you or I walked up
with our camera,
uslikali i odšetali dalje.
09:43
took a picture, and then walked away.
Ovo je bio savršen primer.
09:45
This was a perfect example.
Nazivam je „Sakre ker selfi“.
09:47
I call it "Sacré-Coeur Selfie."
Posmatrao sam preko 15 sati
sve ove ljude
09:49
I watched over 15 hours
09:51
all these people
not even look at Sacré-Coeur.
koji čak ni ne gledaju Sakre ker.
Više ih zanima
da ga iskoriste kao pozadinu.
09:54
They were more interested
in using it as a backdrop.
Prišli bi, napravili sliku
09:57
They would walk up, take a picture,
i zatim otišli.
09:59
and then walk away.
Smatram da je to
apsolutno izuzetan primer,
10:02
And I found this to be an absolutely
extraordinary example,
snažna nepovezanost između onoga
što mislimo da je ljudski doživljaj
10:07
a powerful disconnect between
what we think the human experience is
naspram onoga u šta se on pretvara.
10:11
versus what the human experience
is evolving into.
Čin deljenja je odjednom postao važniji
10:15
The act of sharing has suddenly
become more important
od samog iskustva.
10:20
than the experience itself.
(Aplauz)
10:23
(Applause)
Konačno, moja najskorija slika,
10:26
And finally, my most recent image,
koja ima posebno značenje za mene lično.
10:29
which has such a special meaning
for me personally:
Ovo je nacionalni park Serengeti
u Tanzaniji.
10:33
this is the Serengeti National
Park in Tanzania.
Ovo je fotografisano usred Seronere;
10:36
And this is photographed
in the middle of the Seronera,
to nije rezervat.
10:39
this is not a reserve.
Išao sam specijalno
tokom vrhunca migracije
10:41
I went specifically during
the peak migration
u nadi da ću uhvatiti
najraznovrsnije životinje.
10:44
to hopefully capture
the most diverse range of animals.
Nažalost, kada smo stigli tamo,
10:48
Unfortunately, when we got there,
suša je nastupila za vreme
maksimuma migracije,
10:50
there was a drought going on
during the peak migration,
suša od pet nedelja.
10:52
a five-week drought.
Stoga je sve životinje privukla voda.
10:53
So all the animals
were drawn to the water.
Našao sam ovo pojilo
10:56
I found this one watering hole,
i osetio da, ako sve ostane
isto tako kako se odvija,
10:58
and felt if everything remained
the same way it was behaving,
imam pravu priliku
da zabeležim nešto jedinstveno.
11:02
I had a real opportunity
to capture something unique.
Proveli smo tri dana u izučavanju
11:06
We spent three days studying it,
i ništa me nije moglo pripremiti
11:08
and nothing could have prepared me
za ono čemu sam prisustvovao
za vreme našeg dana za slikanje.
11:09
for what I witnessed during our shoot day.
11:12
I photographed for 26 hours
Fotografisao sam 26 sati
u zatvorenom zaklonu krokodila,
5,5 metara u vazduhu.
11:15
in a sealed crocodile blind,
18 feet in the air.
Ono čemu sam prisustvovao
bilo je nezamislivo.
11:19
What I witnessed was unimaginable.
Iskreno rečeno, bilo je biblijski.
11:21
Frankly, it was Biblical.
11:23
We saw, for 26 hours,
Gledali smo kako, tokom 26 sati,
sve te konkurentne vrste
dele jedan izvor zvani voda.
11:25
all these competitive species
share a single resource called water.
Isti izvor oko koga će čovečanstvo
navodno ratovati
11:31
The same resource that humanity
is supposed to have wars over
tokom narednih 50 godina.
11:34
during the next 50 years.
Životinje nisu čak ni zaroktale
jedna na drugu.
11:37
The animals never even
grunted at each other.
Izgleda da one razumeju nešto
što mi ljudi ne razumemo -
11:41
They seem to understand something
that we humans don't.
da je ovaj dragoceni izvor zvani voda
11:45
That this precious resource called water
nešto što svi moramo da delimo.
11:48
is something we all have to share.
Kada sam stvorio ovu sliku,
11:51
When I created this picture,
shvatio sam da je „Iz dana u noć“
zapravo novi način sagledavanja,
11:55
I realized that Day to Night
is really a new way of seeing,
sažimanja vremena,
12:00
compressing time,
istraživanja kontinuuma prostor-vreme
u okviru fotografije.
12:02
exploring the space-time continuum
within a photograph.
Kako se tehnologija bude razvijala
uporedo sa fotografijom,
12:06
As technology evolves
along with photography,
fotografije ne samo da će saopštavati
dublje značenje vremena i pamćenja,
12:11
photographs will not only communicate
a deeper meaning of time and memory,
već će sačiniti novi narativ
neispričanih priča,
12:15
but they will compose a new narrative
of untold stories,
stvarajući vanvremenski prozor u naš svet.
12:22
creating a timeless window into our world.
Hvala.
12:27
Thank you.
(Aplauz)
12:28
(Applause)
Translated by Ivana Krivokuća
Reviewed by Tijana Mihajlović

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About the Speaker:

Stephen Wilkes - Narrative photographer
By blending up to 100 still photographs into a seamless composite that captures the transition from day to night, Stephen Wilkes reveals the stories hidden in familiar locations.

Why you should listen

Since opening his studio in New York City in 1983, photographer Stephen Wilkes has built an unprecedented body of work and a reputation as one of America's most iconic photographers, widely recognized for his fine art, editorial and commercial work.

His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Griffin Museum of Photography, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum and numerous private collections. His editorial work has appeared in, and on the covers of, leading publications such as the New York Times Magazine, Vanity Fair, TIME, Fortune, National Geographic, Sports Illustrated and many others.

In 1998, a one-day assignment to the south side of Ellis Island led to a 5-year photographic study of the island's long abandoned medical wards where immigrants were detained before they could enter America. Through his photographs and video, Wilkes helped secure $6 million toward the restoration of the south side of the island.

Day to Night, Wilkes' most defining project, began in 2009. These epic cityscapes and landscapes, portrayed from a fixed camera angle for up to 30 hours capture fleeting moments of humanity as light passes in front of his lens over the course of full day. Blending these images into a single photograph takes months to complete. Day to Night has been featured on CBS Sunday Morning as well as dozens of other prominent media outlets and, with a grant from the National Geographic Society, was recently extended to include America's National Parks in celebration of their centennial anniversary. The series will be published by TASCHEN as a monograph in 2017.

Wilkes, who lives and maintains his studio in Westport, CT, is represented by Bryce Wolkowitz Gallery, New York; Peter Fetterman Gallery, Los Angeles; Monroe Gallery of Photography, Santa Fe; and ARTITLEDContemporary, The Netherlands.

More profile about the speaker
Stephen Wilkes | Speaker | TED.com