TED2016
Stephen Wilkes: The passing of time, caught in a single photo
Stiven Vilks (Stephen Wilkes): Proticanje vremena, zabeleženo na jednoj fotografiji
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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.
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. Full bio
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
Double-click the English transcript below to play the video.
00:13
I'm driven by pure passion
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Pokreće me čista strast
00:15
to create photographs that tell stories.
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da stvaram fotografije koje iznose priču.
00:18
Photography can be described
as the recording of a single moment
as the recording of a single moment
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Fotografija se može opisati
kao zapis pojedinačnog trenutka
kao zapis pojedinačnog trenutka
00:23
frozen within a fraction of time.
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zamrznutog u deliću vremena.
Svaki trenutak ili fotografija
predstavlja opipljiv deo
predstavlja opipljiv deo
00:26
Each moment or photograph
represents a tangible piece
represents a tangible piece
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00:30
of our memories as time passes.
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naših sećanja dok vreme prolazi.
Međutim, šta ako biste mogli da uhvatite
više od jednog trenutka na fotografiji?
više od jednog trenutka na fotografiji?
00:33
But what if you could capture more
than one moment in a photograph?
than one moment in a photograph?
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Šta ako bi fotografija
zapravo mogla da uruši vreme,
zapravo mogla da uruši vreme,
00:37
What if a photograph
could actually collapse time,
could actually collapse time,
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00:41
compressing the best moments
of the day and the night
of the day and the night
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sažimajući najbolje trenutke dana i noći
00:44
seamlessly into one single image?
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neprimetno u jednu sliku?
00:47
I've created a concept
called "Day to Night"
called "Day to Night"
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Stvorio sam koncept zvani „iz dana u noć“
00:50
and I believe it's going to change
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i smatram da će promeniti
način na koji sagledavate svet.
00:51
the way you look at the world.
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Znam da jeste za mene.
00:53
I know it has for me.
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00:55
My process begins by photographing
iconic locations,
iconic locations,
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Moj proces započinje
fotografisanjem upečatljivih lokacija,
fotografisanjem upečatljivih lokacija,
00:59
places that are part of what I call
our collective memory.
our collective memory.
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mesta koja su deo onoga što nazivam
našim kolektivnim sećanjem.
našim kolektivnim sećanjem.
01:03
I photograph from a fixed vantage point,
and I never move.
and I never move.
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Fotografišem sa fiksirane povoljne tačke
i nikada se ne pomeram.
i nikada se ne pomeram.
01:07
I capture the fleeting moments
of humanity and light as time passes.
of humanity and light as time passes.
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Beležim prolazne trenutke
čovečanstva i svetlosti dok vreme prolazi.
čovečanstva i svetlosti dok vreme prolazi.
Fotografišem negde između 15 do 30 sati
01:11
Photographing for anywhere
from 15 to 30 hours
from 15 to 30 hours
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01:14
and shooting over 1,500 images,
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i uslikam preko 1 500 slika,
01:17
I then choose the best moments
of the day and night.
of the day and night.
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a zatim odaberem
najbolje momente dana i noći.
najbolje momente dana i noći.
01:21
Using time as a guide,
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Koristeći vreme da me vodi,
01:23
I seamlessly blend those best moments
into one single photograph,
into one single photograph,
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neprimetno spojim te najbolje momente
u jednu fotografiju,
u jednu fotografiju,
01:27
visualizing our conscious
journey with time.
journey with time.
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vizualizujući naše svesno putovanje
kroz vremene.
kroz vremene.
01:31
I can take you to Paris
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Mogu vas odvesti u Pariz
01:33
for a view from the Tournelle Bridge.
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da vidite pogled sa mosta Turnel.
01:36
And I can show you the
early morning rowers
early morning rowers
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Mogu vam pokazati veslače u rano jutro
01:38
along the River Seine.
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duž reke Sene.
01:40
And simultaneously,
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U isto vreme
01:42
I can show you Notre Dame aglow at night.
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vam mogu pokazati osvetljen Notr Dam noću.
01:45
And in between, I can show you
the romance of the City of Light.
the romance of the City of Light.
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Između vam mogu pokazati
romantiku grada svetlosti.
romantiku grada svetlosti.
Ja sam u suštini ulični fotograf
sa 15 metara u vazduhu
sa 15 metara u vazduhu
01:51
I am essentially a street photographer
from 50 feet in the air,
from 50 feet in the air,
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01:55
and every single thing you see
in this photograph
in this photograph
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i baš sve što vidite na ovoj fotografiji
01:57
actually happened on this day.
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zapravo se dogodilo ovog dana.
02:02
Day to Night is a global project,
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„Iz dana u noć“ je globalni projekat,
02:04
and my work has always been about history.
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a moj rad se uvek ticao istorije.
02:07
I'm fascinated by the concept
of going to a place like Venice
of going to a place like Venice
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Fasciniran sam konceptom
odlaska na mesto poput Venecije
odlaska na mesto poput Venecije
02:11
and actually seeing it during
a specific event.
a specific event.
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i zapravo je videti
tokom specifičnog događaja.
tokom specifičnog događaja.
02:13
And I decided I wanted to see
the historical Regata,
the historical Regata,
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Rešio sam da hoću da vidim
istorijsku regatu,
istorijsku regatu,
02:17
an event that's actually been
taking place since 1498.
taking place since 1498.
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događaj koji se održava od 1498 godine.
02:21
The boats and the costumes
look exactly as they did then.
look exactly as they did then.
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Čamci i kostimi izgledaju
baš kao što su izgledali tada.
baš kao što su izgledali tada.
02:26
And an important element that I really
want you guys to understand is:
want you guys to understand is:
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Važan element
koji zaista želim da razumete
koji zaista želim da razumete
je da ovo nije fotografija
ubrzanog prolaska vremena,
ubrzanog prolaska vremena,
02:30
this is not a timelapse,
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02:31
this is me photographing
throughout the day and the night.
throughout the day and the night.
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već to ja fotografišem
tokom celog dana i noći.
tokom celog dana i noći.
02:37
I am a relentless collector
of magical moments.
of magical moments.
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Neumoran sam sakupljač čarobnih trenutaka.
02:40
And the thing that drives me
is the fear of just missing one of them.
is the fear of just missing one of them.
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Ono što me pokreće je strah
da ću propustiti samo jedan od njjih.
da ću propustiti samo jedan od njjih.
02:48
The entire concept came about in 1996.
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Čitav koncept je nastao 1996. godine.
02:52
LIFE Magazine commissioned me
to create a panoramic photograph
to create a panoramic photograph
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Časopis Lajf mi je naručio
da napravim panoramsku fotografiju
da napravim panoramsku fotografiju
02:57
of the cast and crew of Baz Luhrmann's
film Romeo + Juliet.
film Romeo + Juliet.
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glumaca i ekipe na filmu
„Romeo i Julija“ Baza Lurmana.
„Romeo i Julija“ Baza Lurmana.
03:02
I got to the set and realized:
it's a square.
it's a square.
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Došao sam na postavku
i shvatio da je u obliku kvadrata.
i shvatio da je u obliku kvadrata.
03:06
So the only way I could actually create
a panoramic was to shoot a collage
a panoramic was to shoot a collage
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Stoga je jedini način na koji sam mogao
da napravim panoramu
da napravim panoramu
bio da uslikam kolaž
od 250 pojedinačnih slika.
od 250 pojedinačnih slika.
03:10
of 250 single images.
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03:13
So I had DiCaprio and Claire Danes
embracing.
embracing.
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Imao sam Dikaprija
i Kler Dejns u zagrljaju.
i Kler Dejns u zagrljaju.
03:16
And as I pan my camera to the right,
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Kako sam usmerio kameru nadesno,
03:19
I noticed there was a mirror on the wall
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primetio sam ogledalo na zidu
03:22
and I saw they were
actually reflecting in it.
actually reflecting in it.
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i video sam njihov odraz u njemu.
03:24
And for that one moment, that one image
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Za taj trenutak, za tu sliku,
upitao sam ih: „Da li biste se poljubili
03:26
I asked them, "Would you guys just kiss
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03:28
for this one picture?"
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samo sa ovu jednu sliku?“
03:30
And then I came back
to my studio in New York,
to my studio in New York,
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Zatim sam se vratio
u svoj studio u Njujorku
u svoj studio u Njujorku
03:32
and I hand-glued these 250 images together
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i ručno sam zalepio
ovih 250 slika jednu za drugu,
ovih 250 slika jednu za drugu,
03:36
and stood back and went,
"Wow, this is so cool!
"Wow, this is so cool!
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odmakao se i rekao:
„Vau, ovo je tako kul!
„Vau, ovo je tako kul!
03:39
I'm changing time in a photograph."
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Menjam vreme na fotografiji.“
03:42
And that concept actually
stayed with me for 13 years
stayed with me for 13 years
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Taj koncept sam zapravo zadržao 13 godina,
03:46
until technology finally
has caught up to my dreams.
has caught up to my dreams.
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sve dok tehnologija
konačno nije sustigla moje snove.
konačno nije sustigla moje snove.
Ovo je slika pristaništa Santa Monika
koju sam stvorio, iz dana u noć.
koju sam stvorio, iz dana u noć.
03:51
This is an image I created
of the Santa Monica Pier, Day to Night.
of the Santa Monica Pier, Day to Night.
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03:54
And I'm going to show you a little video
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Pokazaću vam mali snimak
koji vam daje predstavu
o tome kako je biti sa mnom
o tome kako je biti sa mnom
03:56
that gives you an idea of what
it's like being with me
it's like being with me
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03:59
when I do these pictures.
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kada radim ovakve fotografije.
04:01
To start with, you have to understand
that to get views like this,
that to get views like this,
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Za početak, morate shvatiti da,
da bih dobio ovakve poglede,
da bih dobio ovakve poglede,
04:04
most of my time is spent up high,
and I'm usually in a cherry picker
and I'm usually in a cherry picker
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većinu svog vremena provodim u visinama
i obično sam na dizalici sa korpom
i obično sam na dizalici sa korpom
04:08
or a crane.
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ili na kranu.
Ovo je tipičan dan, 12-18 sati,
04:09
So this is a typical day,
12-18 hours, non-stop
12-18 hours, non-stop
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neprekidno slikanje
celog dana dok se odvija.
celog dana dok se odvija.
04:13
capturing the entire day unfold.
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04:16
One of the things that's great
is I love to people-watch.
is I love to people-watch.
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Jedna od sjajnih stvari
je to što volim da posmatram ljude.
je to što volim da posmatram ljude.
04:19
And trust me when I tell you,
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Verujte kada vam kažem,
ovo je najbolje mesto koje možete imati.
04:20
this is the greatest seat
in the house to have.
in the house to have.
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04:24
But this is really how I go about
creating these photographs.
creating these photographs.
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Tako ja pristupam
stvaranju ovih fotografija.
stvaranju ovih fotografija.
04:27
So once I decide on my view
and the location,
and the location,
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Jednom kada donesem odluku
o pogledu i lokaciji,
o pogledu i lokaciji,
04:31
I have to decide where day begins
and night ends.
and night ends.
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moram da odlučim gde dan počinje
i gde se noć završava.
i gde se noć završava.
04:34
And that's what I call the time vector.
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To je ono što zovem „vektor vremena“.
04:37
Einstein described time as a fabric.
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Ajnštajn je opisao vreme kao tkanje.
04:41
Think of the surface of a trampoline:
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Zamislite površinu trampoline;
04:43
it warps and stretches with gravity.
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krivi se i isteže usled gravitacije.
04:46
I see time as a fabric as well,
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Vreme, takođe, sagledavam kao tkanje,
04:49
except I take that fabric and flatten it,
compress it into single plane.
compress it into single plane.
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izuzev što uzmem to tkanje i poravnam ga,
sabijem ga u jednu ravan.
sabijem ga u jednu ravan.
Jedan od jedistvenih aspekata
ovog rada je takođe,
ovog rada je takođe,
04:55
One of the unique aspects
of this work is also,
of this work is also,
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04:57
if you look at all my pictures,
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ako pogledate sve moje slike,
04:58
the time vector changes:
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da se vektor vremena menja -
05:00
sometimes I'll go left to right,
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ponekad ću ići sleva nadesno,
05:02
sometimes front to back,
up or down, even diagonally.
up or down, even diagonally.
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ponekad spolja ka nazad,
gore ili dole, čak i dijagonalno.
gore ili dole, čak i dijagonalno.
05:07
I am exploring the space-time continuum
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Istražujem prostorno-vremenski kontinuum
05:10
within a two-dimensional still photograph.
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u okviru dvodimenzionalne
nepokretne fotografije.
nepokretne fotografije.
05:13
Now when I do these pictures,
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Kada radim ovakve slike,
05:15
it's literally like a real-time puzzle
going on in my mind.
going on in my mind.
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bukvalno kao da mi se u umu
odvija slagalica u realnom vremenu.
odvija slagalica u realnom vremenu.
05:18
I build a photograph based on time,
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Pravim fotografiju na osnovu vremena,
05:21
and this is what I call the master plate.
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a ovo je ono što nazivam glavnom podlogom.
05:23
This can take us several
months to complete.
months to complete.
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Može nam biti potrebno
nekoliko meseci da završimo.
nekoliko meseci da završimo.
05:27
The fun thing about this work is
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Ono što je zabavno u vezi sa ovim radom
05:29
I have absolutely zero control
when I get up there
when I get up there
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je to da nemam apsolutno nikakvu kontrolu
kada se tamo podignem
kada se tamo podignem
05:32
on any given day and capture photographs.
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bilo kog dana i slikam fotografije.
05:35
So I never know who's
going to be in the picture,
going to be in the picture,
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Dakle, nikada ne znam ko će biti na slici,
da li će biti sjajan izlazak
ili zalazak sunca - nemam kontrolu.
ili zalazak sunca - nemam kontrolu.
05:37
if it's going to be a great
sunrise or sunset -- no control.
sunrise or sunset -- no control.
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05:40
It's at the end of the process,
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Tek na kraju procesa,
05:42
if I've had a really great day
and everything remained the same,
and everything remained the same,
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ako sam imao zaista sjajan dan
i sve je ostalo isto,
i sve je ostalo isto,
05:45
that I then decide who's in and who's out,
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tada odlučujem ko ostaje, a ko ne,
05:48
and it's all based on time.
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a to je sve zasnovano na vremenu.
05:49
I'll take those best moments that I pick
over a month of editing
over a month of editing
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Uzimam te najbolje trenutke
koje biram tokom mesec dana uređivanja
koje biram tokom mesec dana uređivanja
05:53
and they get seamlessly blended
into the master plate.
into the master plate.
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i oni se neprimetno spoje
sa glavnom podlogom.
sa glavnom podlogom.
05:58
I'm compressing the day and night
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Sabijam dan i noć
06:00
as I saw it,
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onako kako sam ih video,
06:02
creating a unique harmony between
these two very discordant worlds.
these two very discordant worlds.
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stvarajući jedinstvenu harmoniju
između ova dva vrlo oprečna sveta.
između ova dva vrlo oprečna sveta.
06:07
Painting has always been a really
important influence in all my work
important influence in all my work
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Slikarstvo je oduvek predstavljalo
zaista veliki uticaj u celokupnom mom radu
zaista veliki uticaj u celokupnom mom radu
06:11
and I've always been a huge fan
of Albert Bierstadt,
of Albert Bierstadt,
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i oduvek sam bio veliki obožavatelj
Alberta Birštata,
Alberta Birštata,
06:13
the great Hudson River School painter.
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velikog slikara škole reke Hadson.
06:15
He inspired a recent series
that I did on the National Parks.
that I did on the National Parks.
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On je inspirisao seriju
o nacionalnim parkovima
koju sam nedavno uradio.
koju sam nedavno uradio.
06:19
This is Bierstadt's Yosemite Valley.
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Ovo je Birštatova „Dolina Josemiti“.
06:22
So this is the photograph
I created of Yosemite.
I created of Yosemite.
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Ovo je fotografija Josemitija
koju sam ja napravio.
koju sam ja napravio.
06:25
This is actually the cover story
of the 2016 January issue
of the 2016 January issue
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To je zapravo naslovna priča
sa izdanja Nacionalne geografije
iz januara 2016. godine.
iz januara 2016. godine.
06:29
of National Geographic.
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06:31
I photographed for over
30 hours in this picture.
30 hours in this picture.
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Fotografisao sam
preko 30 sati na ovoj slici.
preko 30 sati na ovoj slici.
06:34
I was literally on the side of a cliff,
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Bio sam bukvalno sa strane litice,
06:37
capturing the stars
and the moonlight as it transitions,
and the moonlight as it transitions,
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hvatajući zveze i mesečinu
dok prave prelaz,
dok prave prelaz,
06:41
the moonlight lighting El Capitan.
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mesečinu koja osvetljava El Kapitan.
06:42
And I also captured this transition
of time throughout the landscape.
of time throughout the landscape.
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Takođe sam uhvatio
ovu promenu vremena kroz čitav predeo.
ovu promenu vremena kroz čitav predeo.
06:47
The best part is obviously seeing
the magical moments of humanity
the magical moments of humanity
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Najbolji deo očigledno predstavlja
videti čarobne trenutke čovečanstva
videti čarobne trenutke čovečanstva
06:51
as time changed --
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dok se vreme menja,
06:54
from day into night.
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iz dana u noć.
06:58
And on a personal note,
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Što se mene lično tiče,
06:59
I actually had a photocopy
of Bierstadt's painting in my pocket.
of Bierstadt's painting in my pocket.
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zapravo sam imao fotokopiju
Birštatove slike u svom džepu.
Birštatove slike u svom džepu.
07:03
And when that sun started
to rise in the valley,
to rise in the valley,
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Kada je sunce počelo
da se pomalja u dolini,
da se pomalja u dolini,
07:06
I started to literally shake
with excitement
with excitement
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bukvalno sam počeo da drhtim od uzbuđenja
07:08
because I looked at the painting and I go,
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jer sam pogledao sliku i rekao:
07:10
"Oh my god, I'm getting Bierstadt's
exact same lighting
exact same lighting
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„O bože, dobijam potpuno isto osvetljenje
07:14
100 years earlier."
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kao i Birštat pre 100 godina.“
07:17
Day to Night is about all the things,
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„Iz dana u noć“ se odnosi na sve stvari,
07:20
it's like a compilation of all
the things I love
the things I love
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poput zbirke je svih stvari koje volim
07:22
about the medium of photography.
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u vezi sa medijem fotografije.
07:25
It's about landscape,
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Tiče se pejzaža,
07:26
it's about street photography,
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ulične fotografije,
07:28
it's about color, it's about architecture,
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boje, arhitekture,
07:30
perspective, scale --
and, especially, history.
and, especially, history.
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perspektive, razmere i,
pogotovo, istorije.
pogotovo, istorije.
Ovo je jedan od trenutaka
najprožetijih istorijom
najprožetijih istorijom
07:34
This is one of the most historical moments
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koje sam mogao da fotografišem,
07:36
I've been able to photograph,
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07:37
the 2013 Presidential Inauguration
of Barack Obama.
of Barack Obama.
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predsednička inauguracija
Baraka Obame 2013. godine.
Baraka Obame 2013. godine.
07:41
And if you look closely in this picture,
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Ako pogledate pažljivo ovu sliku,
07:43
you can actually see time changing
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možete zapravo da vidite
kako se menja vreme
kako se menja vreme
na tim velikim televizijskim prijemnicima.
07:45
in those large television sets.
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07:47
You can see Michelle
waiting with the children,
waiting with the children,
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Možete videti Mišel koja čeka sa decom,
07:50
the president now greets the crowd,
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predsednik sada pozdravlja gomilu,
07:52
he takes his oath,
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polaže zakletvu,
07:53
and now he's speaking to the people.
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a sada se obraća ljudima.
Postoji mnogo problematičnih aspekata
kada stvaram ovakve fotografije.
kada stvaram ovakve fotografije.
07:56
There's so many challenging aspects
when I create photographs like this.
when I create photographs like this.
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08:01
For this particular photograph,
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Konkretno za ovu fotografiju,
08:03
I was in a 50-foot scissor lift
up in the air
up in the air
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bio sam 15 metara u vazduhu
na platformi na makaze
na platformi na makaze
08:06
and it was not very stable.
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i nije baš bila stabilna.
08:08
So every time my assistant and I
shifted our weight,
shifted our weight,
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Zato, svaki put kada bismo
moj asistent i ja prebacivali težinu,
moj asistent i ja prebacivali težinu,
08:11
our horizon line shifted.
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menjala nam se linija horizonta.
08:12
So for every picture you see,
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Stoga za svaku sliku koju vidite,
08:14
and there were about
1,800 in this picture,
1,800 in this picture,
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a bilo ih je oko 1 800 na ovoj slici,
08:16
we both had to tape our feet into position
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obojica smo morali da zalepimo stopala
u određenom položaju
u određenom položaju
08:19
every time I clicked the shutter.
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svaki put kada bih okinuo.
08:22
(Applause)
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(Aplauz)
Naučio sam toliko toga izuzetnog
kroz ovaj rad.
kroz ovaj rad.
08:26
I've learned so many extraordinary
things doing this work.
things doing this work.
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08:30
I think the two most important
are patience
are patience
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Mislim da su dve najvažnije stvari
bile strpljenje i moć posmatranja.
08:34
and the power of observation.
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08:36
When you photograph a city
like New York from above,
like New York from above,
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Kada fotografišete grad
kao što je Njujork odozgo,
kao što je Njujork odozgo,
08:40
I discovered that those people in cars
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otkrio sam da ti ljudi u automobilima
08:42
that I sort of live with everyday,
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sa kojima na neki način živim
iz dana u dan
iz dana u dan
08:44
they don't look like people
in cars anymore.
in cars anymore.
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ne izgledaju više
kao ljudi u automobilima.
kao ljudi u automobilima.
08:46
They feel like a giant school of fish,
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Deluju kao ogromno jato riba.
08:49
it was a form of emergent behavior.
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To je kao vrsta ponašanja koje se javlja.
08:52
And when people describe
the energy of New York,
the energy of New York,
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Kada ljudi opisuju energiju Njujorka,
08:55
I think this photograph begins
to really capture that.
to really capture that.
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mislim da ova fotografija
počinje da to zaista obuhvata.
počinje da to zaista obuhvata.
08:58
When you look closer in my work,
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Kada pogledate pažljivije moj rad,
09:00
you can see there's stories going on.
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možete videti da se tu odvijaju priče.
09:02
You realize that Times Square is a canyon,
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Shvatate da je Tams skver kanjon,
09:05
it's shadow and it's sunlight.
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senka i sunčeva svetlost.
Odlučio sam da ću, na ovoj fotografiji,
napraviti šahovsku tablu vremena.
napraviti šahovsku tablu vremena.
09:07
So I decided, in this photograph,
I would checkerboard time.
I would checkerboard time.
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09:11
So wherever the shadows are, it's night
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Gde god se nalaze senke, noć je,
09:13
and wherever the sun is,
it's actually day.
it's actually day.
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a gde god je sunce, tu je dan.
09:16
Time is this extraordinary thing
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Vreme je izvanredna stvar
09:18
that we never can really
wrap our heads around.
wrap our heads around.
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koju nikad ne možemo zaista da pojmimo.
Ipak, na vrlo jedinstven
i specijalan način,
i specijalan način,
09:21
But in a very unique and special way,
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09:23
I believe these photographs
begin to put a face on time.
begin to put a face on time.
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smatram da ove fotografije
počinju da daju predstavu o vremenu.
počinju da daju predstavu o vremenu.
09:28
They embody a new
metaphysical visual reality.
metaphysical visual reality.
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One oličavaju novu metafizičku
vizualnu stvarnost.
vizualnu stvarnost.
09:34
When you spend 15 hours
looking at a place,
looking at a place,
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Kada provedete 15 sati
gledajući jedno mesto,
gledajući jedno mesto,
posmatraćete stvari malo drugačije
09:38
you're going to see things
a little differently
a little differently
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nego da smo vi ili ja prišli sa kamerom,
09:41
than if you or I walked up
with our camera,
with our camera,
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09:43
took a picture, and then walked away.
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uslikali i odšetali dalje.
09:45
This was a perfect example.
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Ovo je bio savršen primer.
09:47
I call it "Sacré-Coeur Selfie."
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Nazivam je „Sakre ker selfi“.
09:49
I watched over 15 hours
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Posmatrao sam preko 15 sati
sve ove ljude
sve ove ljude
09:51
all these people
not even look at Sacré-Coeur.
not even look at Sacré-Coeur.
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koji čak ni ne gledaju Sakre ker.
09:54
They were more interested
in using it as a backdrop.
in using it as a backdrop.
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Više ih zanima
da ga iskoriste kao pozadinu.
da ga iskoriste kao pozadinu.
09:57
They would walk up, take a picture,
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Prišli bi, napravili sliku
09:59
and then walk away.
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i zatim otišli.
10:02
And I found this to be an absolutely
extraordinary example,
extraordinary example,
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Smatram da je to
apsolutno izuzetan primer,
apsolutno izuzetan primer,
10:07
a powerful disconnect between
what we think the human experience is
what we think the human experience is
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snažna nepovezanost između onoga
što mislimo da je ljudski doživljaj
što mislimo da je ljudski doživljaj
10:11
versus what the human experience
is evolving into.
is evolving into.
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naspram onoga u šta se on pretvara.
10:15
The act of sharing has suddenly
become more important
become more important
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Čin deljenja je odjednom postao važniji
10:20
than the experience itself.
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od samog iskustva.
10:23
(Applause)
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(Aplauz)
Konačno, moja najskorija slika,
10:26
And finally, my most recent image,
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10:29
which has such a special meaning
for me personally:
for me personally:
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koja ima posebno značenje za mene lično.
10:33
this is the Serengeti National
Park in Tanzania.
Park in Tanzania.
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Ovo je nacionalni park Serengeti
u Tanzaniji.
u Tanzaniji.
10:36
And this is photographed
in the middle of the Seronera,
in the middle of the Seronera,
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Ovo je fotografisano usred Seronere;
10:39
this is not a reserve.
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to nije rezervat.
10:41
I went specifically during
the peak migration
the peak migration
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Išao sam specijalno
tokom vrhunca migracije
tokom vrhunca migracije
10:44
to hopefully capture
the most diverse range of animals.
the most diverse range of animals.
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u nadi da ću uhvatiti
najraznovrsnije životinje.
najraznovrsnije životinje.
10:48
Unfortunately, when we got there,
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Nažalost, kada smo stigli tamo,
10:50
there was a drought going on
during the peak migration,
during the peak migration,
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suša je nastupila za vreme
maksimuma migracije,
maksimuma migracije,
10:52
a five-week drought.
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suša od pet nedelja.
10:53
So all the animals
were drawn to the water.
were drawn to the water.
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Stoga je sve životinje privukla voda.
10:56
I found this one watering hole,
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Našao sam ovo pojilo
10:58
and felt if everything remained
the same way it was behaving,
the same way it was behaving,
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i osetio da, ako sve ostane
isto tako kako se odvija,
isto tako kako se odvija,
11:02
I had a real opportunity
to capture something unique.
to capture something unique.
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imam pravu priliku
da zabeležim nešto jedinstveno.
da zabeležim nešto jedinstveno.
11:06
We spent three days studying it,
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Proveli smo tri dana u izučavanju
11:08
and nothing could have prepared me
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i ništa me nije moglo pripremiti
za ono čemu sam prisustvovao
za vreme našeg dana za slikanje.
za vreme našeg dana za slikanje.
11:09
for what I witnessed during our shoot day.
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11:12
I photographed for 26 hours
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Fotografisao sam 26 sati
11:15
in a sealed crocodile blind,
18 feet in the air.
18 feet in the air.
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u zatvorenom zaklonu krokodila,
5,5 metara u vazduhu.
5,5 metara u vazduhu.
11:19
What I witnessed was unimaginable.
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Ono čemu sam prisustvovao
bilo je nezamislivo.
bilo je nezamislivo.
Iskreno rečeno, bilo je biblijski.
11:21
Frankly, it was Biblical.
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11:23
We saw, for 26 hours,
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Gledali smo kako, tokom 26 sati,
11:25
all these competitive species
share a single resource called water.
share a single resource called water.
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sve te konkurentne vrste
dele jedan izvor zvani voda.
dele jedan izvor zvani voda.
11:31
The same resource that humanity
is supposed to have wars over
is supposed to have wars over
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Isti izvor oko koga će čovečanstvo
navodno ratovati
navodno ratovati
tokom narednih 50 godina.
11:34
during the next 50 years.
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11:37
The animals never even
grunted at each other.
grunted at each other.
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Životinje nisu čak ni zaroktale
jedna na drugu.
jedna na drugu.
11:41
They seem to understand something
that we humans don't.
that we humans don't.
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Izgleda da one razumeju nešto
što mi ljudi ne razumemo -
što mi ljudi ne razumemo -
11:45
That this precious resource called water
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da je ovaj dragoceni izvor zvani voda
11:48
is something we all have to share.
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nešto što svi moramo da delimo.
11:51
When I created this picture,
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Kada sam stvorio ovu sliku,
11:55
I realized that Day to Night
is really a new way of seeing,
is really a new way of seeing,
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shvatio sam da je „Iz dana u noć“
zapravo novi način sagledavanja,
zapravo novi način sagledavanja,
12:00
compressing time,
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sažimanja vremena,
12:02
exploring the space-time continuum
within a photograph.
within a photograph.
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istraživanja kontinuuma prostor-vreme
u okviru fotografije.
u okviru fotografije.
12:06
As technology evolves
along with photography,
along with photography,
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Kako se tehnologija bude razvijala
uporedo sa fotografijom,
uporedo sa fotografijom,
12:11
photographs will not only communicate
a deeper meaning of time and memory,
a deeper meaning of time and memory,
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fotografije ne samo da će saopštavati
dublje značenje vremena i pamćenja,
dublje značenje vremena i pamćenja,
12:15
but they will compose a new narrative
of untold stories,
of untold stories,
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već će sačiniti novi narativ
neispričanih priča,
neispričanih priča,
12:22
creating a timeless window into our world.
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stvarajući vanvremenski prozor u naš svet.
12:27
Thank you.
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Hvala.
(Aplauz)
12:28
(Applause)
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ABOUT THE SPEAKER
Stephen Wilkes - Narrative photographerBy 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.
Stephen Wilkes | Speaker | TED.com