I'm here to share my photography. Or is it photography? Because, of course, this is a photograph that you can't take with your camera.
Z vami bi rad delil svoje fotografije. Je to sploh fotografija? Navsezadnje je to fotografski posnetek, ki ga je nemogoče posneti s fotoaparatom.
Yet, my interest in photography started as I got my first digital camera at the age of 15. It mixed with my earlier passion for drawing, but it was a bit different, because using the camera, the process was in the planning instead. And when you take a photograph with a camera, the process ends when you press the trigger. So to me it felt like photography was more about being at the right place and the right time. I felt like anyone could do that.
Moje zanimanje za fotografijo se je vzbudilo pri petnajstih letih, ko sem v roke prijel svoj prvi digitalni fotoaparat. Združilo se je z mojo strastjo do risanja, ampak je bilo nekoliko drugače, ker se je pri uporabi fotoaparata proces skrival v načrtovanju. Ko s fotoaparatom zajameš posnetek, se proces konča takoj ko pritisneš na sprožilec. Zato sem vedno imel občutek, da fotografija zahteva, da se nahajaš na pravem mestu ob pravem času. Zdelo se mi je, da to zmore vsak.
So I wanted to create something different, something where the process starts when you press the trigger. Photos like this: construction going on along a busy road. But it has an unexpected twist. And despite that, it retains a level of realism. Or photos like these -- both dark and colorful, but all with a common goal of retaining the level of realism. When I say realism, I mean photo-realism. Because, of course, it's not something you can capture really, but I always want it to look like it could have been captured somehow as a photograph. Photos where you will need a brief moment to think to figure out the trick. So it's more about capturing an idea than about capturing a moment really.
Zato sem želel ustvariti nekaj drugačnega, nekaj, kjer se proces s pritiskom na sprožilec šele začne. Takšne fotografije: gradbišče ob prometni cesti, ki pa ima nepričakovan preobrat. Kljub temu ohrani neko stopnjo realističnosti. Ali pa takšne fotografije-- tako temne kot barvite. Toda vse imajo skupni cilj in obdržijo neko stopnjo realizma. Ko rečem realizem, imam v mislih fotorealizem. Ker to seveda ni nekaj kar lahko zares posnameš, toda vedno si želim, da bi fotografija izgledala pristna. Tako si moraš vzeti trenutek časa, da lahko razbereš iluzijo. Gre veliko bolj za zajemanje idej kot zajemanje trenutkov.
But what's the trick that makes it look realistic? Is it something about the details or the colors? Is it something about the light? What creates the illusion? Sometimes the perspective is the illusion. But in the end, it comes down to how we interpret the world and how it can be realized on a two-dimensional surface. It's not really what is realistic, it's what we think looks realistic really.
Toda s čim lahko dosežemo realistični učinek? Mogoče s podrobnostimi ali barvami? Ima svetloba kaj pri tem? Kaj ustvari to iluzijo? Včasih je iluzija perspektiva. Toda na koncu je vse stvar našega dojemanja sveta in kako ga lahko poustvarimo na dvodimenzionalni površini. Ni toliko pomembno, kaj je realistično, kot kaj mislimo, da je realistično.
So I think the basics are quite simple. I just see it as a puzzle of reality where you can take different pieces of reality and put it together to create alternate reality. And let me show you a simple example. Here we have three perfectly imaginable physical objects, something we all can relate to living in a three-dimensional world. But combined in a certain way, they can create something that still looks three-dimensional, like it could exist. But at the same time, we know it can't. So we trick our brains, because our brain simply doesn't accept the fact that it doesn't really make sense. And I see the same process with combining photographs. It's just really about combining different realities.
Zdi se mi, da so osnove precej enostavne. Svet vidim kot sestavljanko resničnosti, kjer lahko vzamem različne dele resničnosti in jih sestavim v alternativno resničnost. Naj vam pokažem enostaven primer. Tukaj imamo tri povsem predstavljive fizične predmete, ki jih lahko povežemo s tridimenzionalnim svetom. Če pa jih združimo na določen način, se lahko združijo v nekaj, kar še vedno izgleda tridimenzionalno, kot bi lahko obstajalo. Toda obenem vemo, da ne more. Zato pretentamo svoje možgane, ker enostavno ne morejo sprejeti dejstva, da to ni smiselno. Jaz vidim enak proces pri združevanju fotografij. Gre le za združevanje različnih resničnosti.
So the things that make a photograph look realistic, I think it's the things that we don't even think about, the things all around us in our daily lives. But when combining photographs, this is really important to consider, because otherwise it just looks wrong somehow. So I would like to say that there are three simple rules to follow to achieve a realistic result. As you can see, these images aren't really special. But combined, they can create something like this.
Stvari, zaradi katerih izgleda fotografija realistična, so po mojem mnenju tiste, o katerih sploh ne razmišljamo. Stvari, ki so okrog nas v našem vsakdanu. Ampak ko združujemo fotografije, moramo o tem dobro premisliti, ker bo drugače vse skupaj izgledalo narobe. Zato bi rad izpostavil tri enostavna pravila, ki se mi zdijo pomembna, da lahko dosežemo realistični učinek. Kot lahko vidite, ta posnetka nista nič posebnega. Ampak ko ju združimo, lahko ustvarimo nekaj takšnega.
So the first rule is that photos combined should have the same perspective. Secondly, photos combined should have the same type of light. And these two images both fulfill these two requirements -- shot at the same height and in the same type of light. The third one is about making it impossible to distinguish where the different images begin and end by making it seamless. Make it impossible to say how the image actually was composed. So by matching color, contrast and brightness in the borders between the different images, adding photographic defects like depth of field, desaturated colors and noise, we erase the borders between the different images and make it look like one single image, despite the fact that one image can contain hundreds of layers basically.
Prvo pravilo je torej, da morajo fotografije imeti enako perspektivo. Drugič, fotografije, ki jih združujemo, morajo biti enako osvetljene. Oba prikazana posnetka izpolnjujeta ta dva pogoja -- posneta sta bila na enaki višini in ob enaki svetlobi. Tretje pravilo pa zahteva, da morate odstraniti robove, po katerih se da razbrati kje se posnetki začnejo in kje končajo. Ne sme biti očitno kako je bila slika sestavljena. Torej usklajevanje barv, kontrasta in svetlobe ob robovih posameznih posnetkov, dodajanje fotografskih učinkov kot globinsko ostrino, razsičenje barv in šum, vse to pripomore k brisanju meja med različnimi posnetki in jih navidezno združi v eno sliko. Čeprav je ena slika sestavljena iz stotih slojev.
So here's another example. (Laughter) One might think that this is just an image of a landscape and the lower part is what's manipulated. But this image is actually entirely composed of photographs from different locations. I personally think that it's easier to actually create a place than to find a place, because then you don't need to compromise with the ideas in your head. But it does require a lot of planning. And getting this idea during winter, I knew that I had several months to plan it, to find the different locations for the pieces of the puzzle basically. So for example, the fish was captured on a fishing trip. The shores are from a different location. The underwater part was captured in a stone pit. And yeah, I even turned the house on top of the island red to make it look more Swedish.
Tukaj je še en primer. (Smeh) Marsikdo bi si mislil, da je to samo posnetek pokrajine z obdelanim spodnjim delom. Toda slika je v bistvu v celoti sestavljena iz fotografij z različnih lokacij. Osebno se mi zdi, da je nek kraj lažje ustvariti kot pa ga najti, ker potem pri idejah ni potrebno ubirati srednje poti. Je pa potrebno veliko načrtovanja. Ker se mi je ta ideja porodila pozimi, sem imel več mesecev za načrtovanje in iskanje različnih lokacij. Torej za različne dele sestavljanke. Zato sem na primer to ribo fotografiral na ribiškem izletu. Nabrežja so z neke druge lokacije. Podvodni del sem posnel na kamnolomu. Hišo na otoku sem celo pobarval rdeče, da bi bila bolj švedska.
So to achieve a realistic result, I think it comes down to planning. It always starts with a sketch, an idea. Then it's about combining the different photographs. And here every piece is very well planned. And if you do a good job capturing the photos, the result can be quite beautiful and also quite realistic. So all the tools are out there, and the only thing that limits us is our imagination.
Pri doseganju realističnega učinka je na koncu vse odvisno od načrtovanja. Vedno se začne s skico, z idejo. Potem je potrebno še samo združiti različne fotografije. Tukaj je vsak del dobro načrtovan. Če se dobro odrežete že pri fotografiranju, bo končni izdelek zelo lep in tudi precej realističen. Vsa orodja so nam na voljo, omejuje nas le naša domišljija.
Thank you.
Hvala.
(Applause)
(Aplavz)