TED-如何拍出壮阔景观的日夜星辰 他每张照片均拍摄20小时以上

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TED简介：2016 | 一张照片如何能让昼夜同时辉灿？ 让我们听美国著名摄影师，国家地理杂志的特约摄影师 Stephen Wilkes先生分享他创作出一张张令人惊叹不已照片背后的故事

演讲者：Stephen Wilkes

片长：12:42

https://v.qq.com/txp/iframe/player.html?vid=a0535oclb0v&width=500&height=375&auto=0

中英对照演讲稿

I'm driven by pure passion to createphotographs that tell stories. Photography can be described as the recording ofa single moment frozen within a fraction of time. Each moment or photographrepresents a tangible piece of our memories as time passes. But what if youcould capture more than one moment in a photograph? What if a photograph couldactually collapse time, compressing the best moments of the day and the nightseamlessly into one single image?

我创作有故事的照片是出于纯粹的热忱。摄影是对瞬间的记录，凝固了永恒的某一个瞬间。随着时间流逝，每个瞬间或照片都将我们的回忆化作实体。但是如果你可以在一张照片中,捕捉不止一个瞬间呢？假如照片可以解构并重组时间，浓缩日夜中最佳的时刻，并将其在一张图片上完美呈现呢？

I've created a concept called "Day toNight" and I believe it's going to change the way you look at the world. Iknow it has for me.

我创造了“昼夜之间”这个概念，我深信它将改变人们看待世界的方式。至少它已改变了我。

My process begins by photographing iconiclocations, places that are part of what I call our collective memory. I photographfrom a fixed vantage point, and I never move. I capture the fleeting moments ofhumanity and light as time passes. Photographing for anywhere from 15 to 30hours and shooting over 1,500 images, I then choose the best moments of the dayand night.

我的创作始于对地标的记录，我将这些地方看作大家“记忆中的共鸣”。我大多取景于固定的至高点，而且从不移动。随着时间流动，我捕捉人类活动与光影变幻。每个地点我都连续拍摄15至30小时，单次素材超过1500张，之后我挑选出最佳的瞬间，从白昼到黑夜。

Using time as a guide, I seamlessly blendthose best moments into one single photograph, visualizing our consciousjourney with time. I can take you to Paris for a view from the TournelleBridge. And I can show you the early morning rowers along the River Seine. Andsimultaneously, I can show you Notre Dame aglow at night. And in between, I canshow you the romance of the City of Light.

以时间为轴，将这些美妙的瞬间融合到一张照片中，将时间的流逝以具象的方式呈现。我可以带你们去巴黎，在托内尔桥上看风景。你们能看到清晨的桨手，自塞纳河上掠过。与此同时，也能看到巴黎圣母院夜晚的灯光。晨昏之间，还能感受巴黎的浪漫气氛。

I am essentially a street photographer from50 feet in the air, and every single thing you see in this photograph actuallyhappened on this day.

我是一个常年悬空15米的街头摄影师，这张照片中的一切，都是在当天真实发生的。

Day to Night is a global project, and mywork has always been about history. I'm fascinated by the concept of going to aplace like Venice and actually seeing it during a specific event. And I decidedI wanted to see the historical Regata, an event that's actually been takingplace since 1498. The boats and the costumes look exactly as they did then. 

“昼夜之间”是一个环球项目，而我的作品一直以历史为核心。我着迷于像威尼斯这样的地方，也曾在特殊的日子造访过它。我去看当地传统的划船比赛，它的历史可追溯到1498年。船只和选手服饰的样子，与旧时一模一样。

And an important element that I really want you guys to understand is: this is nota timelapse, this is me photographing throughout the day and the night. I am arelentless collector of magical moments. And the thing that drives me is thefear of just missing one of them.

有一点很重要，我想特别强调一下：这并不是延时拍摄，而是我夜以继日的（连续）拍摄。对于捕捉那些惊艳的刹那，我从不倦怠。我唯恐错失任何精彩瞬间，这是我最大的动力。

The entire concept came about in 1996. LIFEMagazine commissioned me to create a panoramic photograph of the cast and crewof Baz Luhrmann's film Romeo + Juliet. I got to the set and realized: it's asquare. So the only way I could actually create a panoramic was to shoot acollage of 250 single images. So I had DiCaprio and Claire Danes embracing. And as I pan my camera to the right, I noticed there was a mirror on the wall and I saw they were actually reflecting in it. 

整个“昼夜之间”的概念始于1996年。当时《LIFE》杂志委任我为巴兹·鲁曼导演的电影《罗密欧与朱丽叶》的全体演职人员拍摄一张全景照。我去了才发现，现场搭的景是方形的。我能想到的拍摄全景图的唯一方法，就是拍摄250张照片，然后再进行拼贴。于是我让迪卡普里奥和丹尼斯相拥。当我将镜头移至场景右侧时，我发现墙上有面镜子，而他们的身影恰好被反射在镜中。

And for that one moment, that oneimage I asked them, "Would you guys just kiss for this one picture?"And then I came back to my studio in New York, and I hand-glued these 250images together and stood back and went, "Wow, this is so cool! I'mchanging time in a photograph." And that concept actually stayed with mefor 13 years until technology finally has caught up to my dreams.

为了那个瞬间，那幅画面，我问他们，“为了这张照片，你们能亲吻对方吗？”之后我回到了纽约的工作室，把250张照片一张张拼在一起，我后退一步，发出赞叹：“哇，这太酷了！我改变了照片中的时间。”之后13年间，这个理念一直贯穿于我的作品之中，直到技术终于赶上了我的梦想。

This is an image I created of the SantaMonica Pier, Day to Night. And I'm going to show you a little video that givesyou an idea of what it's like being with me when I do these pictures. To startwith, you have to understand that to get views like this, most of my time isspent up high, and I'm usually in a cherry picker or a crane. So this is atypical day, 12-18 hours, non-stop capturing the entire day unfold.

这是一张圣莫妮卡码头昼夜之间的照片。下面我要放一个小短片让你们感受一下我的创作过程。首先你们得知道，要拍出这样的照片，我大部分时间都得待在半空中，通常是在升降台或者吊车上。这是很普通的一天，连续拍摄12-18个小时，记录下完整的一天。

One of the things that's great is I love topeople-watch. And trust me when I tell you, this is the greatest seat in thehouse to have.

我喜欢观察人，所以我很享受这个过程。相信我，半空中绝对是全场最好的位子。

But this is really how I go about creatingthese photographs. So once I decide on my view and the location, I have todecide where day begins and night ends. And that's what I call the time vector.Einstein described time as a fabric. Think of the surface of a trampoline: itwarps and stretches with gravity. I see time as a fabric as well, except I takethat fabric and flatten it, compress it into single plane.

不过这就是我进行创作的真实场景。一旦确认好取景范围和位置，我就要决定照片中的一天何时开始，何时结束。我把这叫做时间矢量。爱因斯坦把时间比作一块布料。你们想象一下蹦床的表面：它会在重力的作用下弯曲和拉伸。我也把时间看做布料，只不过我把它平摊到一个二维平面上。

One of the unique aspects of this work isalso, if you look at all my pictures, the time vector changes: sometimes I'llgo left to right, sometimes front to back, up or down, even diagonally. I amexploring the space-time continuum within a two-dimensional still photograph.

我的工作还有个特别的方面，如果你细看我所有的照片，你会发现我的时间矢量是变化的：有时从左往右，有时从近到远，从上到下，有时甚至沿对角线。我在平面的静态照片中，探索空间与时间的统一。

Now when I do these pictures, it'sliterally like a real-time puzzle going on in my mind. I build a photographbased on time, and this is what I call the master plate. This can take usseveral months to complete. The fun thing about this work is I have absolutelyzero control when I get up there on any given day and capture photographs. 

当我在创作这些作品时，就像在脑中同步拼一幅拼图。我以时间为轴创作照片，称之为模板。整个创作过程通常花费数月完成。其有趣之处在于我一旦踏上拍摄点对拍摄对象就完全无法掌控。

So I never know who's going to be in the picture, if it's going to be a greatsunrise or sunset -- no control. It's at the end of the process, if I've had areally great day and everything remained the same, that I then decide who's inand who's out, and it's all based on time. I'll take those best moments that Ipick over a month of editing and they get seamlessly blended into the masterplate. I'm compressing the day and night as I saw it, creating a unique harmonybetween these two very discordant worlds.

我既不知道谁会被拍到也不知道日出或日落是否迷人——完全控制不了。只有等拍摄完成，我才知道当天拍得怎么样，有没有好的素材，然后我才能进行取舍，这一切都取决于时间。经过一个多月的编辑挑选，我选出最棒的瞬间，将它们无缝地拼接于模板之中。我把自己眼中的白天和黑夜置于同一张图像中，让这两个截然不同的世界和谐交融。

Painting has always been a really importantinfluence in all my work and I've always been a huge fan of Albert Bierstadt,the great Hudson River School painter. He inspired a recent series that I didon the National Parks. This is Bierstadt's Yosemite Valley. So this is thephotograph I created of Yosemite. This is actually the cover story of the 2016 January issue of National Geographic. 

绘画一直对我的作品有着深远影响，我很喜欢阿尔伯特·比茲塔特，他是一位哈德逊河画派的画家。他启发了我最近拍摄的国家公园系列作品。这是他画的《优胜美地河谷》。而这张是我在优胜美地河谷创作的图片。这张照片后来被《国家地理》杂志甄用作为2016年1月刊的封面。

I photographed for over 30 hours in thispicture. I was literally on the side of a cliff, capturing the stars and themoonlight as it transitions, the moonlight lighting El Capitan. And I alsocaptured this transition of time throughout the landscape. The best part isobviously seeing the magical moments of humanity as time changed -- from dayinto night.

我为这张照片持续拍摄了超过30个小时。当时我真的就站在悬崖边上捕捉星月交辉的变化，和洒在酋长岩上的月光。同时我也在固定的景致中捕捉时间的流动。其中最棒的，无疑是在时光的流转中见证人类活动的一个个美好瞬间——从早到晚，从不间断。

And on a personal note, I actually had aphotocopy of Bierstadt's painting in my pocket. And when that sun started torise in the valley, I started to literally shake with excitement because Ilooked at the painting and I go, "Oh my god, I'm getting Bierstadt's exactsame lighting 100 years earlier."

在我的笔记本里，一直夹着一张比兹塔特作品的副本。当太阳从河谷中渐渐升起时，我为眼前的美景激动到颤抖，我看着他的画，意识到，“天啊，我眼前的光线效果，跟一百年前比兹塔特看到的，简直一模一样。”

Day to Night is about all the things, it'slike a compilation of all the things I love about the medium of photography.It's about landscape, it's about street photography, it's about color, it'sabout architecture, perspective, scale -- and, especially, history.

“昼夜之间”的主题覆盖了所有事物，在摄影这种媒介中我所热爱的一切。它关乎风景，关乎街头摄影，关乎色彩，也关乎建筑，关乎透视，比例，特别是历史。

This is one of the most historical momentsI've been able to photograph, the 2013 Presidential Inauguration of BarackObama. And if you look closely in this picture, you can actually see timechanging in those large television sets. You can see Michelle waiting with thechildren, the president now greets the crowd, he takes his oath, and now he'sspeaking to the people. There's so many challenging aspects when I createphotographs like this. 

这张照片，在我所有的照片里，是最具历史意义的，这是2013年奥巴马总统就职仪式。如果你细看这张照片，你其实可以在这些大屏幕中看到时间的变化。你可以看到米歇尔和孩子在等待，总统向观众致意，然后他进行宣誓，之后他再向民众致辞。在拍摄这类题材的照片时，遇到的挑战不计其数。

For this particular photograph, I was in a 50-footscissor lift up in the air and it was not very stable. So every time myassistant and I shifted our weight, our horizon line shifted. So for everypicture you see, and there were about 1,800 in this picture, we both had totape our feet into position every time I clicked the shutter. (Applause)

我拍这张照片时，是在离地15米的一台剪叉式升降机里，而且它不是很稳。所以每次助手和我在升降机里移动，我们的水平线也跟着变化。你们看到的每一张照片，这里面一共有差不多1800张，我们每次按下快门前，都必须把脚用胶带固定住。（掌声）

I've learned so many extraordinary thingsdoing this work. I think the two most important are patience and the power ofobservation. When you photograph a city like New York from above, I discoveredthat those people in cars that I sort of live with everyday, they don't looklike people in cars anymore. They feel like a giant school of fish, it was aform of emergent behavior. 

从这份工作之中，我收获无数。其中我认为最重要的是耐心，和观察的力量。当我俯拍纽约这样的大都会时，我发现坐在车里的人，那些原本我很熟悉的人群，在我看来已经面目全非了。他们像是庞大的鱼群，像一种新的行为模式。

And when people describe the energy of New York, Ithink this photograph begins to really capture that. When you look closer in mywork, you can see there's stories going on. You realize that Times Square is acanyon, it's shadow and it's sunlight. So I decided, in this photograph, Iwould checkerboard time. So wherever the shadows are, it's night and whereverthe sun is, it's actually day.

人们常常说起纽约所蕴含的活力，我认为这张图片确实有捕捉到这一点。如果你仔细看这张图，你会发现这里面是有故事的。你会觉得时代广场其实是个峡谷，有阴影，也有阳光。于是我决定，在这一张照片中，把时间排成棋盘状。有阴影的地方是黑夜，而有阳光的地方就是白天。

Time is this extraordinary thing that wenever can really wrap our heads around. But in a very unique and special way, Ibelieve these photographs begin to put a face on time. They embody a newmetaphysical visual reality. When you spend 15 hours looking at a place, you'regoing to see things a little differently than if you or I walked up with ourcamera, took a picture, and then walked away.

时间是个太过神奇的东西我们永远无法真正理解它。但是这些照片以一种独一无二的形式描绘出了时间的一种面貌。它们将抽象的视觉现实具体化了。当你用整整15个小时观察一个地方，你会发现一些特别之处，如果你我拿着相机走过去，拍张照片，然后离开，是无法发现的。

This was a perfect example. I call it"Sacré-Coeur Selfie." I watched over 15 hours all these people noteven look at Sacré-Coeur. They were more interested in using it as a backdrop.They would walk up, take a picture, and then walk away. And I found this to bean absolutely extraordinary example, a powerful disconnect between what wethink the human experience is versus what the human experience is evolvinginto. The act of sharing has suddenly become more important than the experienceitself. (Applause)

这张照片就是一个典型的例子。我把它叫作“圣心大教堂旁的自拍”。我观察了不止15个小时照片里的这些人，根本没看圣心大教堂。他们只是把它当作一块背景板。他们走上前去，拍张照片，然后就走了。这一幕简直太典型了，它完美展现了我们自认为的亲身体验与现实中亲身体验的演变之间的巨大差异。分享自己的体验突然变得比体验本身更为重要了。（鼓掌）

And finally, my most recent image, whichhas such a special meaning for me personally: this is the Serengeti NationalPark in Tanzania. And this is photographed in the middle of the Seronera, thisis not a reserve. I went specifically during the peak migration to hopefullycapture the most diverse range of animals. Unfortunately, when we got there,there was a drought going on during the peak migration, a five-week drought. Soall the animals were drawn to the water. I found this one watering hole, andfelt if everything remained the same way it was behaving, I had a realopportunity to capture something unique.

最后，这是我最近所拍摄的一张照片，它对我个人而言有着特别的意义：照片中是坦桑尼亚的塞伦盖蒂国家公园。是在塞罗勒那拍摄的，它不在保护区内。我特地选在动物迁徙的高峰期前往就是为了拍摄尽可能多种类的动物。但很不巧，当我们抵达的时候，迁徙高峰期伴随着一场旱灾，持续了整整5周。所有动物都跑向了有水的地方。我发现了照片中的这处水源，心想如果一切正常的话，我可能会拍到一些精彩的画面。

We spent three days studying it, andnothing could have prepared me for what I witnessed during our shoot day. Iphotographed for 26 hours in a sealed crocodile blind, 18 feet in the air. WhatI witnessed was unimaginable. Frankly, it was Biblical. We saw, for 26 hours,all these competitive species share a single resource called water. The sameresource that humanity is supposed to have wars over during the next 50 years.The animals never even grunted at each other. They seem to understand somethingthat we humans don't. That this precious resource called water is something weall have to share.

我们花了3天时间熟悉情况，而拍摄当天我见到的一切，却完全出乎我的意料。拍摄持续了26个小时，在离地5.5米的一个鳄鱼掩体中。我见到的情形简直超出想象。就像《圣经》里的场景。在这为期26小时的拍摄中，我们亲眼见证了这些本该相互竞争的动物，分享了唯一的水源。而人类，却有可能为了争夺水源，在未来50年内发动战争。而这些动物甚至都没有吼叫以驱赶对方。它们似乎懂得一些我们还不懂的道理。那就是水，这一珍贵的资源，不应该被独占。

When I created this picture, I realizedthat Day to Night is really a new way of seeing, compressing time, exploringthe space-time continuum within a photograph.

在创作这张图片的过程中，我意识到“昼夜之间”是一种认识世界的新方法，它压缩了时间，在照片中探索时空的连续性。

As technology evolves along withphotography, photographs will not only communicate a deeper meaning of time andmemory, but they will compose a new narrative of untold stories, creating atimeless window into our world.

科技在不断发展，摄影也随之进步，照片不仅仅能传达时间和回忆中更深层的意义，它还能书写出生活中尘封的故事，为我们的世界开启了一个永恒的窗口。

Thank you.(Applause)

谢谢大家。（鼓掌）（鼓掌）非常感谢！

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