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.
Ovde sam, kako bih podelio sa vama svoje fotografije. Da li su to uopšte fotografije? Jer, svakako, ovo je fotografija koju ne možete napraviti 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 interesovanje za fotografiju počelo je kada sam sa 15 godina dobio svoj prvi digitalni fotoaparat. Pomešalo se sa mojom ranijom strašću za crtanjem, ali je ovo bilo malo drugačije zato što je kod korišćenja aparata proces usmeren ka planiranju. A kada slikate aparatom, proces se završava kada pritisnete dugme. Meni se činilo da je fotografisanje više o tome da se nađete na pravom mestu u pravo vreme. Mislio sam da to može raditi ko god poželi
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.
i zbog toga sam želeo da stvorim nešto drugačije, nešto gde proces počinje kada pritisnete dugme. Fotografije poput ove: konstrukcijski radovi na prometnom putu. Ali, postoji neočekivani zaplet. I uprkos tome, održava nivo realističnosti. Ili fotografije poput ovih -- i tamne i šarenolike, sve zbog zajedničkog cilja - zadržavanja nivoa realističnosti. Kada kažem realistične, mislim foto-realistične. Jer, naravno, to nije nešto što zaista možete uslikati, ali uvek želim da izgleda kao da se nekako moglo uslikati. Fotografije zbog kojih morate na kratko da porazmislite kako biste otrkili u čemu je trik. Dakle, više se tu radi o hvatanju ideje nego o hvatanju trenutka,
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.
Ali koji je to trik koji ih čini realističnima? Da li je to nešto u detaljima ili bojama? Da li je stvar u svetlu? Šta stvara iluziju? Ponekad je perspektiva iluzija. Na kraju, svodi se na to kako tumačimo svet i kako to možemo prikazati na dvodimenzionalnoj površini. Ne radi se o tome šta je realistično, nego o tome šta mi mislimo da izgleda 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.
Mislim da su osnove vrlo jednostavne. Ja to vidim kao slagalicu realnosti gde možete uzeti različite delove realnosti i spojiti ih kako biste stvorili alternativnu realnost. Dozvolite da vam pokažem jednostavan primer. Ovde imamo 3 savršeno moguća fizička objekta, nešto što svi možemo povezati sa životom u 3D svetu. Ali iskombinovani na određeni način, oni mogu stvoriti nešto što i dalje izgleda trodimenzionalno, kao da bi moglo postojati. Isto tako, znamo da ne može postojati. Stoga varamo svoje mozgove, jer naš mozak jednostavno ne prihvata činjenicu da to zapravo nema smisla. Isti je proces sa kombinovanjem fotografija. To je jednostavno kombinovanje različitih realnosti.
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 koje fotografiju čine realističnom, mislim da su to stvari o kojima ni ne razmišljamo, stvari iz naših svakodnevnih života. Ali kod kombinovanja fotografija, važno je o tome razmisliti jer inače sve izgleda nekako pogrešno. Zbog toga bih hteo reći da postoje 3 jednostavna pravila kojih se treba držati kako bi se postigli realistični rezultati. Kao što vidite, ove fotografije nisu ništa posebno, ali zajedno, mogu stvoriti nešto poput ovoga.
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 da kombinovane fotografije, moraju da imaju istu perspektivu. Drugo, da imaju isto osvetljenje. Obe slike ispunjavaju ove zahteve, slikane su sa iste visine i na istom osvetljenju. Treće je onemogućiti otkrivanje gde različite slike počinju i završavaju se, napraviti ih savršeno skladnim. Učiniti nemogućim utvrđivanje kako je fotografija uopšte sklopljena. Uskađujući boje, kontrast i osvetljenje na granicama različitih slika dodajući fotografske greške kao što su dubina polja, prigušene boje i smetnje, brišemo granice između različitih slika i činimo da izgleda kao jedna slika, iako ta jedna slika, može zapravo imati i stotine slojeva.
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.
Još jedan primer. (Smeh) Neko bi možda pomislio da je ovo samo slika pejzaža, i da je samo donji deo izmanipulisan. Ali ova slika je zapravo cela sastavljena od fotografija sa različitih lokacija. Lično mislim da je lakše stvoriti mesto, nego ga pronaći, jer onda ne morate da pravite kompromise sa svojim idejama. Ali, to zahteva dosta planiranja. Dobio sam ideju tokom zime i znao da imam nekoliko meseci da sve isplaniram i nađem različite lokacije za delove slagalice. Na primer, riba je uslikana tokom pecanja. Obale su sa druge lokacije. Deo pod vodom uslikan je u kamenolomu. I da, čak sam obojio kuću na vrhu ostrva u crveno kako bi izgledalo više švedski.
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.
Dakle, za postizanje realističnog rezultata, mislim da je sve u planiranju. Uvek započinje skicom, idejom. Zatim sledi kombinovanje različitih fotografija. A ovde je svaki deo bio dobro isplaniran. I ako odradite dobar posao fotografišući, rezultat može da bude veoma lep i takođe prilično realističan. Svi alati su nam na raspolaganju, jedino što nas ograničava je naša mašta.
Thank you.
Hvala.
(Applause)
(Aplauz)