TED2016
Stephen Wilkes: The passing of time, caught in a single photo
史蒂芬·威爾克思: 用一張相片捕捉流逝的時間
Filmed:
Readability: 4.2
1,953,319 views
攝影師史蒂芬·威爾克思用巧手拍攝景色從白天到黑夜的轉變，並用二維靜物攝影探索時空連續統。讓我們跟著他到著名的地標，如巴黎的托內爾橋、優勝美地的伊爾酋長岩，以及位於塞倫蓋提國家公園中心、賦予生命的水坑，一同觀看他的藝術及製作過程。
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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純粹的熱情驅使著我
00:15
to create photographs that tell stories.
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創作會說故事的照片。
00:18
Photography can be described
as the recording of a single moment
as the recording of a single moment
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攝影可以說是
把某一個瞬間記錄下來，
把某一個瞬間記錄下來，
00:23
frozen within a fraction of time.
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凍結那片刻。
00:26
Each moment or photograph
represents a tangible piece
represents a tangible piece
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每一個瞬間，或說每一張照片，
都將我們時間長河中的記憶
都將我們時間長河中的記憶
00:30
of our memories as time passes.
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以有形的物體表現出來。
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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但是，如果你在照片中捕捉到的
不只是某個片斷會怎麼樣呢？
不只是某個片斷會怎麼樣呢？
00:37
What if a photograph
could actually collapse time,
could actually collapse time,
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如果攝影能瓦解時間，
00:41
compressing the best moments
of the day and the night
of the day and the night
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將白天黑夜中最好的各個瞬間
都壓縮起來，
都壓縮起來，
00:44
seamlessly into one single image?
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合成為一張影像，會怎樣呢？
00:47
I've created a concept
called "Day to Night"
called "Day to Night"
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我創造了一種稱為
「從白晝到黑夜」的概念，
「從白晝到黑夜」的概念，
00:50
and I believe it's going to change
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我相信這會改變
00:51
the way you look at the world.
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你看世界的方式。
00:53
I know it has for me.
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至少對我的確如此。
00:55
My process begins by photographing
iconic locations,
iconic locations,
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整個過程從拍攝
幾個著名的地標景點開始，
幾個著名的地標景點開始，
00:59
places that are part of what I call
our collective memory.
our collective memory.
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我把這幾個地方稱為
「我們的集體記憶」。
「我們的集體記憶」。
01:03
I photograph from a fixed vantage point,
and I never move.
and I never move.
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我從一個固定的有利據點拍攝，
而且我不移動。
而且我不移動。
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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隨著時間推移，
我捕捉轉瞬即逝的人性及光影。
我捕捉轉瞬即逝的人性及光影。
01:11
Photographing for anywhere
from 15 to 30 hours
from 15 to 30 hours
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在每個地方都拍攝
約 15 到 30 小時，
約 15 到 30 小時，
01:14
and shooting over 1,500 images,
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拍超過 1,500 張影像，
01:17
I then choose the best moments
of the day and night.
of the day and night.
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然後我選幾個
白天及黑夜最好的瞬間。
白天及黑夜最好的瞬間。
01:21
Using time as a guide,
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用時間作指標，
01:23
I seamlessly blend those best moments
into one single photograph,
into one single photograph,
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我將這幾個瞬間的影像
合成一張相片，
合成一張相片，
01:27
visualizing our conscious
journey with time.
journey with time.
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將我們隨著時間
而產生的意識旅程視覺化。
而產生的意識旅程視覺化。
01:31
I can take you to Paris
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我可以帶你到巴黎
01:33
for a view from the Tournelle Bridge.
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從托內爾橋上賞景。
01:36
And I can show you the
early morning rowers
early morning rowers
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我還可以秀出清晨的槳手
01:38
along the River Seine.
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沿著塞納河划船。
01:40
And simultaneously,
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同時，
01:42
I can show you Notre Dame aglow at night.
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我還可以讓大家看
夜裡閃耀的巴黎聖母院。
夜裡閃耀的巴黎聖母院。
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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在之間，我還可以展示
這座光城的浪漫。
這座光城的浪漫。
01:51
I am essentially a street photographer
from 50 feet in the air,
from 50 feet in the air,
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基本上我就是街頭攝影師，
不過是在 50 呎高的空中，
不過是在 50 呎高的空中，
01:55
and every single thing you see
in this photograph
in this photograph
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你在這張相片中看到的每一樣東西
01:57
actually happened on this day.
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都是當天發生的事。
02:02
Day to Night is a global project,
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「從白晝到黑夜」是全球性計畫，
02:04
and my work has always been about history.
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而且我的工作總是跟歷史有關。
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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我著迷於一種概念，
就是去某個地方，比如說威尼斯，
就是去某個地方，比如說威尼斯，
02:11
and actually seeing it during
a specific event.
a specific event.
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然後從某個特別的活動
來觀察這個地方。
來觀察這個地方。
02:13
And I decided I wanted to see
the historical Regata,
the historical Regata,
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我決定我要去看
歷史悠久的貢多拉船比賽，
歷史悠久的貢多拉船比賽，
02:17
an event that's actually been
taking place since 1498.
taking place since 1498.
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這項活動從 1498 年就開始了。
02:21
The boats and the costumes
look exactly as they did then.
look exactly as they did then.
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船隻與服裝都與當年一模一樣。
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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我真的很想讓大家明白
一個很重要的因素：
一個很重要的因素：
02:30
this is not a timelapse,
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這不是縮時，
02:31
this is me photographing
throughout the day and the night.
throughout the day and the night.
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這是我從白天到黑夜所拍的相片。
02:37
I am a relentless collector
of magical moments.
of magical moments.
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我持續不懈地收集神奇的時刻。
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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驅使我的是害怕自己
錯失任何神奇瞬間。
錯失任何神奇瞬間。
02:48
The entire concept came about in 1996.
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整個概念大約在 1996 年成形。
02:52
LIFE Magazine commissioned me
to create a panoramic photograph
to create a panoramic photograph
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生活雜誌 LIFE 委託我
製作一張全景相片，
製作一張全景相片，
02:57
of the cast and crew of Baz Luhrmann's
film Romeo + Juliet.
film Romeo + Juliet.
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拍攝巴茲·魯曼影片
《羅密歐與茱麗葉》中的全體劇組員。
《羅密歐與茱麗葉》中的全體劇組員。
03:02
I got to the set and realized:
it's a square.
it's a square.
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我到了片場才發現：它是方形的。
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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我要做全景相片唯一的辦法就是
拍 250 張相片，然後拼貼起來。
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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所以我叫李奧納多·狄卡皮歐
及克萊兒·丹妮絲抱在一起。
及克萊兒·丹妮絲抱在一起。
03:16
And as I pan my camera to the right,
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在我向右平移鏡頭時，
03:19
I noticed there was a mirror on the wall
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我注意到牆上有面鏡子，
03:22
and I saw they were
actually reflecting in it.
actually reflecting in it.
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我看到鏡子上正反映著他們的樣子。
03:24
And for that one moment, that one image
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為了那一剎那，那個影像，
03:26
I asked them, "Would you guys just kiss
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我要求他們：「你們親一下吧？
03:28
for this one picture?"
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我要拍這張相片。」
03:30
And then I came back
to my studio in New York,
to my studio in New York,
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然後我回到在紐約的工作室，
03:32
and I hand-glued these 250 images together
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親手把這 250 張相片黏在一起，
03:36
and stood back and went,
"Wow, this is so cool!
"Wow, this is so cool!
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退後看了一看，
然後說：「哇！好酷！
然後說：「哇！好酷！
03:39
I'm changing time in a photograph."
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我正在改變照片的時間。」
03:42
And that concept actually
stayed with me for 13 years
stayed with me for 13 years
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那個概念其實跟了我 13 年，
03:46
until technology finally
has caught up to my dreams.
has caught up to my dreams.
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直到科技終於趕上我的夢想。
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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這張影像是我在加州聖塔莫尼卡碼頭
創作出的「從白晝到黑夜」作品。
創作出的「從白晝到黑夜」作品。
03:54
And I'm going to show you a little video
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我要給大家看一小段影片，
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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讓你們了解
我在製作這些照片時的狀況。
03:59
when I do these pictures.
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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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首先，你得明白
要得到像這樣的景觀，
要得到像這樣的景觀，
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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大部分的時間都要待在高處，
通常我會用活動吊車
通常我會用活動吊車
04:08
or a crane.
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或起重機。
04:09
So this is a typical day,
12-18 hours, non-stop
12-18 hours, non-stop
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所以這是很典型的一天，
12 至 18 小時，不休息，
12 至 18 小時，不休息，
04:13
capturing the entire day unfold.
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一整天都在照相。
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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有一件事很棒，就是我喜歡看人。
04:19
And trust me when I tell you,
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而且你一定要相信我，只要我說
04:20
this is the greatest seat
in the house to have.
in the house to have.
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這裡是整個廳裡最棒的位置。
04:24
But this is really how I go about
creating these photographs.
creating these photographs.
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但是我真的是這樣做出這些相片的。
04:27
So once I decide on my view
and the location,
and the location,
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一旦我選好了景觀及地點，
04:31
I have to decide where day begins
and night ends.
and night ends.
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我就要決定白天從哪裡開始，
黑夜從哪裡結束。
黑夜從哪裡結束。
04:34
And that's what I call the time vector.
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這就是我說的時間向量。
04:37
Einstein described time as a fabric.
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愛因斯坦說時間就像布一樣。
04:41
Think of the surface of a trampoline:
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把表面想像成一張彈簧床：
04:43
it warps and stretches with gravity.
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它會隨重力扭曲和延伸。
04:46
I see time as a fabric as well,
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我也把時間看成一塊布，
04:49
except I take that fabric and flatten it,
compress it into single plane.
compress it into single plane.
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但是我把布弄平，壓縮成單一平面。
04:55
One of the unique aspects
of this work is also,
of this work is also,
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這份工作有個獨特之處，
04:57
if you look at all my pictures,
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如果你看我所有的照片，
04:58
the time vector changes:
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會發現時間向量也會改變：
05:00
sometimes I'll go left to right,
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有時候是從左到右，
05:02
sometimes front to back,
up or down, even diagonally.
up or down, even diagonally.
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有時候是前到後，上或下，
甚至是斜角的。
甚至是斜角的。
05:07
I am exploring the space-time continuum
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我用二維靜物攝影探索時空連續統。
05:10
within a two-dimensional still photograph.
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05:13
Now when I do these pictures,
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我做這些照片時，
05:15
it's literally like a real-time puzzle
going on in my mind.
going on in my mind.
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真的就像有塊即時拼圖
在我的腦海中。
在我的腦海中。
05:18
I build a photograph based on time,
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我以時間為基礎來建構一張相片，
05:21
and this is what I call the master plate.
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這個是我說的母版。
05:23
This can take us several
months to complete.
months to complete.
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我們要花好幾個月來完成這個。
05:27
The fun thing about this work is
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這個工作好玩的地方是
05:29
I have absolutely zero control
when I get up there
when I get up there
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無論我在哪天上去照相，
都沒有任何控制權。
都沒有任何控制權。
05:32
on any given day and capture photographs.
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05:35
So I never know who's
going to be in the picture,
going to be in the picture,
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所以我不知道誰會出現在照片裡，
05:37
if it's going to be a great
sunrise or sunset -- no control.
sunrise or sunset -- no control.
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那天的日出日落好不好看
都無法控制。
都無法控制。
05:40
It's at the end of the process,
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只有到了攝影最後，
05:42
if I've had a really great day
and everything remained the same,
and everything remained the same,
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如果那天我真的運氣很好，
每件事都還保持原樣，
每件事都還保持原樣，
05:45
that I then decide who's in and who's out,
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我才會決定誰入選誰出局，
05:48
and it's all based on time.
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這些都以時間為基礎。
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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我會在費時一個月以上的編輯中，
選出最好的幾個時刻，
選出最好的幾個時刻，
05:53
and they get seamlessly blended
into the master plate.
into the master plate.
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然後把他們合成進母版。
05:58
I'm compressing the day and night
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我把白天黑夜壓縮起來，
06:00
as I saw it,
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照我看到的樣子，
06:02
creating a unique harmony between
these two very discordant worlds.
these two very discordant worlds.
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在這兩種非常不協調的世界之間
做出一種獨特的和諧感。
做出一種獨特的和諧感。
06:07
Painting has always been a really
important influence in all my work
important influence in all my work
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繪畫一直都對我的工作
有很重要的影響，
有很重要的影響，
06:11
and I've always been a huge fan
of Albert Bierstadt,
of Albert Bierstadt,
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我一直是阿爾伯特·比爾施塔特
(Albert Bierstadt) 的大粉絲，
(Albert Bierstadt) 的大粉絲，
06:13
the great Hudson River School painter.
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他是哈德遜河派的偉大畫家。
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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他啟發我做出最近的系列作品
──國家公園。
──國家公園。
06:19
This is Bierstadt's Yosemite Valley.
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這是比爾施塔特的優勝美地；
06:22
So this is the photograph
I created of Yosemite.
I created of Yosemite.
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這是我做出的優勝美地照片。
06:25
This is actually the cover story
of the 2016 January issue
of the 2016 January issue
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這其實是 2016 年一月
國家地理雜誌的封面故事。
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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這張相片裡我拍了超過
30 小時的照片。
30 小時的照片。
06:34
I was literally on the side of a cliff,
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我真的就在懸崖的一邊，
06:37
capturing the stars
and the moonlight as it transitions,
and the moonlight as it transitions,
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在星月交際時拍攝星星月亮，
06:41
the moonlight lighting El Capitan.
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月光照亮伊爾酋長岩 (El Capitan)。
06:42
And I also captured this transition
of time throughout the landscape.
of time throughout the landscape.
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我也捕捉到整個景觀
時間轉換之際。
時間轉換之際。
06:47
The best part is obviously seeing
the magical moments of humanity
the magical moments of humanity
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最棒的部分，很明顯，
就是看到人文的神奇時刻
就是看到人文的神奇時刻
06:51
as time changed --
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隨著時間轉變，
06:54
from day into night.
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從白晝到黑夜。
06:58
And on a personal note,
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在我的私人筆記本裡，
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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我其實在夾層中塞了一張
比爾施塔特的畫作影印。
比爾施塔特的畫作影印。
07:03
And when that sun started
to rise in the valley,
to rise in the valley,
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那天山谷日出時，
07:06
I started to literally shake
with excitement
with excitement
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我真的興奮到發抖，
07:08
because I looked at the painting and I go,
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因為我看著那張畫作然後大叫：
07:10
"Oh my god, I'm getting Bierstadt's
exact same lighting
exact same lighting
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「不得了，我取得跟
比爾施塔特一樣的光線，
比爾施塔特一樣的光線，
07:14
100 years earlier."
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跟一百年前一樣！」
07:17
Day to Night is about all the things,
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「從白晝到黑夜」包羅萬象，
07:20
it's like a compilation of all
the things I love
the things I love
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它就像我心所愛的攝影媒介全集。
07:22
about the medium of photography.
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07:25
It's about landscape,
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它跟景觀有關，
07:26
it's about street photography,
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跟街頭攝影有關，
07:28
it's about color, it's about architecture,
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跟顏色、建築、
07:30
perspective, scale --
and, especially, history.
and, especially, history.
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角度、比例都有關，
還跟歷史特別有關。
還跟歷史特別有關。
07:34
This is one of the most historical moments
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這是我能夠拍攝的東西裡
極具歷史性的時刻，
極具歷史性的時刻，
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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2013 年巴拉克·歐巴馬
總統就職典禮。
總統就職典禮。
07:41
And if you look closely in this picture,
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如果你仔細看這張照片，
07:43
you can actually see time changing
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你其實可以在這幾個大電視裡
看到時間的變化。
看到時間的變化。
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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你可以看到蜜雪兒與孩子一起等待，
07:50
the president now greets the crowd,
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總統現在與群眾打招呼，
07:52
he takes his oath,
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他宣誓，
07:53
and now he's speaking to the people.
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發表就職演說。
07:56
There's so many challenging aspects
when I create photographs like this.
when I create photographs like this.
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我在做像這樣的照片時
其實有多方面的挑戰。
其實有多方面的挑戰。
08:01
For this particular photograph,
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就拿這張照片來說，
08:03
I was in a 50-foot scissor lift
up in the air
up in the air
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我待在一部 50 呎高的
剪刀式起降機上，
剪刀式起降機上，
08:06
and it was not very stable.
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還不太穩。
08:08
So every time my assistant and I
shifted our weight,
shifted our weight,
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所以每次我的助手和我移位時，
08:11
our horizon line shifted.
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我們的水平線就跟著移位。
08:12
So for every picture you see,
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所以你看到的每張相片，
08:14
and there were about
1,800 in this picture,
1,800 in this picture,
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這張裡約有 1,800 張照片，
08:16
we both had to tape our feet into position
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每次我按下快門，我們兩個都得把腳
08:19
every time I clicked the shutter.
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牢牢黏在位置上不動。
08:22
(Applause)
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（掌聲）
08:26
I've learned so many extraordinary
things doing this work.
things doing this work.
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在這份工作中我學到很多厲害的事。
08:30
I think the two most important
are patience
are patience
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我想最重要的兩點就是耐心
08:34
and the power of observation.
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及觀察的力量。
08:36
When you photograph a city
like New York from above,
like New York from above,
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你從上方拍攝像紐約這樣的城市時，
08:40
I discovered that those people in cars
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我發現在車子裡的人，
08:42
that I sort of live with everyday,
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可以說是每天和我一起生活的人，
08:44
they don't look like people
in cars anymore.
in cars anymore.
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他們看起來一點都不像
車子裡的人了。
車子裡的人了。
08:46
They feel like a giant school of fish,
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他們感覺像一大群魚，
08:49
it was a form of emergent behavior.
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以一種湧現的行為模式存在。
08:52
And when people describe
the energy of New York,
the energy of New York,
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有時候大家在說紐約的能量，
08:55
I think this photograph begins
to really capture that.
to really capture that.
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我想這張影像抓住了精髓。
08:58
When you look closer in my work,
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如果你仔細看我的作品，
09:00
you can see there's stories going on.
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你會看到裡面在說故事。
09:02
You realize that Times Square is a canyon,
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你會發現時代廣場是座峽谷，
09:05
it's shadow and it's sunlight.
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它的陰影、它的陽光。
09:07
So I decided, in this photograph,
I would checkerboard time.
I would checkerboard time.
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所以我決定在這張影像中，
要以棋盤格表現時間。
要以棋盤格表現時間。
09:11
So wherever the shadows are, it's night
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所以只要有陰影的地方就是晚上，
09:13
and wherever the sun is,
it's actually day.
it's actually day.
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有陽光的地方就是白天。
09:16
Time is this extraordinary thing
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時間是很厲害的東西，
09:18
that we never can really
wrap our heads around.
wrap our heads around.
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我們永遠也無法完全理解。
09:21
But in a very unique and special way,
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但是以這種非常獨特和特別的方法，
09:23
I believe these photographs
begin to put a face on time.
begin to put a face on time.
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我相信這些相片
能讓我們更了解時間。
能讓我們更了解時間。
09:28
They embody a new
metaphysical visual reality.
metaphysical visual reality.
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他們體現了一種新的、
形而上的視覺現實。
形而上的視覺現實。
09:34
When you spend 15 hours
looking at a place,
looking at a place,
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當你花 15 小時看一個地方，
09:38
you're going to see things
a little differently
a little differently
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你看事情會有一點點不一樣，
09:41
than if you or I walked up
with our camera,
with our camera,
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比你或我背著相機去某處，
09:43
took a picture, and then walked away.
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照張相，然後就離開不一樣。
09:45
This was a perfect example.
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我有個很棒的例子，
09:47
I call it "Sacré-Coeur Selfie."
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我稱為「聖心堂自拍」。
09:49
I watched over 15 hours
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我觀察了 15 個小時以上，
09:51
all these people
not even look at Sacré-Coeur.
not even look at Sacré-Coeur.
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這些人連看都沒看聖心堂一眼。
09:54
They were more interested
in using it as a backdrop.
in using it as a backdrop.
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他們比較想用它當布景。
09:57
They would walk up, take a picture,
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他們會走到前面，照張相，
09:59
and then walk away.
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然後走開。
10:02
And I found this to be an absolutely
extraordinary example,
extraordinary example,
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我發現這是個絕妙的例子，
10:07
a powerful disconnect between
what we think the human experience is
what we think the human experience is
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非常強大的脫節感，
存在於我們以為的人類經驗
存在於我們以為的人類經驗
10:11
versus what the human experience
is evolving into.
is evolving into.
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及人類經驗演變的結局之間。
10:15
The act of sharing has suddenly
become more important
become more important
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「分享」這種行為突然間變得
比經驗本身更為重要。
10:20
than the experience itself.
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10:23
(Applause)
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（掌聲）
10:26
And finally, my most recent image,
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最後，我最新的影像，
10:29
which has such a special meaning
for me personally:
for me personally:
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對我個人有特別的意義：
10:33
this is the Serengeti National
Park in Tanzania.
Park in Tanzania.
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這是位於坦尚尼亞的
塞倫蓋提國家公園。
塞倫蓋提國家公園。
10:36
And this is photographed
in the middle of the Seronera,
in the middle of the Seronera,
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這張是在塞羅勒那中央拍的，
10:39
this is not a reserve.
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這裡不是保留區。
10:41
I went specifically during
the peak migration
the peak migration
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我特別挑在
動物遷徙高峰時期去那裡，
動物遷徙高峰時期去那裡，
10:44
to hopefully capture
the most diverse range of animals.
the most diverse range of animals.
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希望能捕捉到最多種動物。
10:48
Unfortunately, when we got there,
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可惜，我們到達的時候，
10:50
there was a drought going on
during the peak migration,
during the peak migration,
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那裡正面臨乾旱，
就在遷徙高峰時期，
就在遷徙高峰時期，
10:52
a five-week drought.
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為期五週的乾旱。
10:53
So all the animals
were drawn to the water.
were drawn to the water.
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所以動物都被吸引到水邊。
10:56
I found this one watering hole,
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我發現這個水坑，
10:58
and felt if everything remained
the same way it was behaving,
the same way it was behaving,
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而且覺得如果一切的表現
都保持原樣，
都保持原樣，
11:02
I had a real opportunity
to capture something unique.
to capture something unique.
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我的確有機會捕捉到獨特的東西。
11:06
We spent three days studying it,
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我們花了三天研究它，
11:08
and nothing could have prepared me
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然而什麼都比不上
11:09
for what I witnessed during our shoot day.
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我在攝影當天親眼目睹的現象。
11:12
I photographed for 26 hours
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我照了 26 個小時，
11:15
in a sealed crocodile blind,
18 feet in the air.
18 feet in the air.
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躲在一個離地 18 呎高、
密不通風的鱷魚偽裝裡。
密不通風的鱷魚偽裝裡。
11:19
What I witnessed was unimaginable.
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我目睹的現象令人想像不到。
11:21
Frankly, it was Biblical.
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坦白說，還真符合聖經原則。
11:23
We saw, for 26 hours,
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這 26 個小時，我們看到
11:25
all these competitive species
share a single resource called water.
share a single resource called water.
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這些競爭性物種
共享一種資源，就叫水。
共享一種資源，就叫水。
11:31
The same resource that humanity
is supposed to have wars over
is supposed to have wars over
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人類應該會在未來 50 年
為同樣的資源打仗，
為同樣的資源打仗，
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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這些動物卻從未彼此吼叫半聲。
11:41
They seem to understand something
that we humans don't.
that we humans don't.
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牠們好像都明白
我們人類不明白的道理。
我們人類不明白的道理。
11:45
That this precious resource called water
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這種稱為水的珍貴資源
11:48
is something we all have to share.
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是我們必須共享的。
11:51
When I created this picture,
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我做這張照片時，
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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我了解到「從白晝到黑夜」
真的是觀看的新方法，
真的是觀看的新方法，
12:00
compressing time,
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壓縮時間，
12:02
exploring the space-time continuum
within a photograph.
within a photograph.
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在照片中探索時空連續統。
12:06
As technology evolves
along with photography,
along with photography,
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當科技隨著攝影演進，
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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照片不只拿來溝通
時間與記憶的深層意義，
時間與記憶的深層意義，
12:15
but they will compose a new narrative
of untold stories,
of untold stories,
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還是一種新的方法
敘述不為人知的故事，
敘述不為人知的故事，
12:22
creating a timeless window into our world.
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為我們的世界開啟一扇
不受時間限制的窗口。
不受時間限制的窗口。
12:27
Thank you.
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謝謝。
12:28
(Applause)
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（掌聲）
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