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  • I'm driven by pure passion

    純粹的熱情驅使著我

  • to create photographs that tell stories.

    創作會說故事的照片。

  • Photography can be described as the recording of a single moment

    攝影可以說是 把某一個瞬間記錄下來,

  • frozen within a fraction of time.

    凍結那片刻。

  • Each moment or photograph represents a tangible piece

    每一個瞬間,或說每一張照片, 都將我們時間長河中的記憶

  • of our memories as time passes.

    以有形的物體表現出來。

  • But what if you could capture more than one moment in a photograph?

    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?

  • What if a photograph could actually collapse time,

    如果攝影能瓦解時間,

  • compressing the best moments of the day and the night

    將白天黑夜中最好的各個瞬間 都壓縮起來,

  • seamlessly into one single image?

    合成為一張影像,會怎樣呢?

  • I've created a concept called "Day to Night"

    我創造了一種稱為 「從白晝到黑夜」的概念,

  • and I believe it's going to change

    我相信這會改變

  • the way you look at the world.

    你看世界的方式。

  • I know it has for me.

    至少對我的確如此。

  • My process begins by photographing iconic locations,

    整個過程從拍攝 幾個著名的地標景點開始,

  • places that are part of what I call our collective memory.

    我把這幾個地方稱為 「我們的集體記憶」。

  • I photograph from a fixed vantage point, and I never move.

    我從一個固定的有利據點拍攝, 而且我不移動。

  • I capture the fleeting moments of humanity and light as time passes.

    隨著時間推移, 我捕捉轉瞬即逝的人性及光影。

  • Photographing for anywhere from 15 to 30 hours

    在每個地方都拍攝 約 15 到 30 小時,

  • and shooting over 1,500 images,

    拍超過 1,500 張影像,

  • I then choose the best moments of the day and night.

    然後我選幾個 白天及黑夜最好的瞬間。

  • Using time as a guide,

    用時間作指標,

  • I seamlessly blend those best moments into one single photograph,

    我將這幾個瞬間的影像 合成一張相片,

  • visualizing our conscious journey with time.

    將我們隨著時間 而產生的意識旅程視覺化。

  • I can take you to Paris

    我可以帶你到巴黎

  • for a view from the Tournelle Bridge.

    從托內爾橋上賞景。

  • And I can show you the early morning rowers

    我還可以秀出清晨的槳手

  • along the River Seine.

    沿著塞納河划船。

  • And simultaneously,

    同時,

  • I can show you Notre Dame aglow at night.

    我還可以讓大家看 夜裡閃耀的巴黎聖母院。

  • And in between, I can show you the romance of the City of Light.

    在之間,我還可以展示 這座光城的浪漫。

  • I am essentially a street photographer from 50 feet in the air,

    基本上我就是街頭攝影師, 不過是在 50 呎高的空中,

  • and every single thing you see in this photograph

    你在這張相片中看到的每一樣東西

  • actually happened on this day.

    都是當天發生的事。

  • Day to Night is a global project,

    「從白晝到黑夜」是全球性計畫,

  • and my work has always been about history.

    而且我的工作總是跟歷史有關。

  • I'm fascinated by the concept of going to a place like Venice

    我著迷於一種概念, 就是去某個地方,比如說威尼斯,

  • and actually seeing it during a specific event.

    然後從某個特別的活動 來觀察這個地方。

  • And I decided I wanted to see the historical Regata,

    我決定我要去看 歷史悠久的貢多拉船比賽,

  • an event that's actually been taking place since 1498.

    這項活動從 1498 年就開始了。

  • The boats and the costumes look exactly as they did then.

    船隻與服裝都與當年一模一樣。

  • And an important element that I really want you guys to understand is:

    我真的很想讓大家明白 一個很重要的因素:

  • this is not a timelapse,

    這不是縮時,

  • this is me photographing throughout the day and the night.

    這是我從白天到黑夜所拍的相片。

  • I am a relentless collector of magical moments.

    我持續不懈地收集神奇的時刻。

  • And the thing that drives me is the fear of just missing one of them.

    驅使我的是害怕自己 錯失任何神奇瞬間。

  • The entire concept came about in 1996.

    整個概念大約在 1996 年成形。

  • LIFE Magazine commissioned me to create a panoramic photograph

    生活雜誌 LIFE 委託我 製作一張全景相片,

  • of the cast and crew of Baz Luhrmann's film Romeo + Juliet.

    拍攝巴茲·魯曼影片 《羅密歐與茱麗葉》中的全體劇組員。

  • I got to the set and realized: it's a square.

    我到了片場才發現:它是方形的。

  • So the only way I could actually create a panoramic was to shoot a collage

    我要做全景相片唯一的辦法就是

  • of 250 single images.

    拍 250 張相片,然後拼貼起來。

  • So I had DiCaprio and Claire Danes embracing.

    所以我叫李奧納多·狄卡皮歐 及克萊兒·丹妮絲抱在一起。

  • And as I pan my camera to the right,

    在我向右平移鏡頭時,

  • I noticed there was a mirror on the wall

    我注意到牆上有面鏡子,

  • and I saw they were actually reflecting in it.

    我看到鏡子上正反映著他們的樣子。

  • And for that one moment, that one image

    為了那一剎那,那個影像,

  • I asked them, "Would you guys just kiss

    我要求他們:「你們親一下吧?

  • for this one picture?"

    我要拍這張相片。」

  • And then I came back to my studio in New York,

    然後我回到在紐約的工作室,

  • and I hand-glued these 250 images together

    親手把這 250 張相片黏在一起,

  • and stood back and went, "Wow, this is so cool!

    退後看了一看, 然後說:「哇!好酷!

  • I'm changing time in a photograph."

    我正在改變照片的時間。」

  • And that concept actually stayed with me for 13 years

    那個概念其實跟了我 13 年,

  • until technology finally has caught up to my dreams.

    直到科技終於趕上我的夢想。

  • This is an image I created of the Santa Monica Pier, Day to Night.

    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。

  • And I'm going to show you a little video

    我要給大家看一小段影片,

  • that gives you an idea of what it's like being with me

    讓你們了解

  • when I do these pictures.

    我在製作這些照片時的狀況。

  • To start with, you have to understand that to get views like this,

    首先,你得明白 要得到像這樣的景觀,

  • most of my time is spent up high, and I'm usually in a cherry picker

    大部分的時間都要待在高處, 通常我會用活動吊車

  • or a crane.

    或起重機。

  • So this is a typical day, 12-18 hours, non-stop

    所以這是很典型的一天, 12 至 18 小時,不休息,

  • capturing the entire day unfold.

    一整天都在照相。

  • One of the things that's great is I love to people-watch.

    有一件事很棒,就是我喜歡看人。

  • And trust me when I tell you,

    而且你一定要相信我,只要我說

  • this is the greatest seat in the house to have.

    這裡是整個廳裡最棒的位置。

  • But this is really how I go about creating these photographs.

    但是我真的是這樣做出這些相片的。

  • So once I decide on my view and the location,

    一旦我選好了景觀及地點,

  • I have to decide where day begins and night ends.

    我就要決定白天從哪裡開始, 黑夜從哪裡結束。

  • And that's what I call the time vector.

    這就是我說的時間向量。

  • Einstein described time as a fabric.

    愛因斯坦說時間就像布一樣。

  • Think of the surface of a trampoline:

    把表面想像成一張彈簧床:

  • it warps and stretches with gravity.

    它會隨重力扭曲和延伸。

  • I see time as a fabric as well,

    我也把時間看成一塊布,

  • except I take that fabric and flatten it, compress it into single plane.

    但是我把布弄平,壓縮成單一平面。

  • One of the unique aspects of this work is also,

    這份工作有個獨特之處,

  • if you look at all my pictures,

    如果你看我所有的照片,

  • the time vector changes:

    會發現時間向量也會改變:

  • sometimes I'll go left to right,

    有時候是從左到右,

  • sometimes front to back, up or down, even diagonally.

    有時候是前到後,上或下, 甚至是斜角的。

  • I am exploring the space-time continuum

    我用二維靜物攝影探索時空連續統。

  • within a two-dimensional still photograph.

    我做這些照片時,

  • Now when I do these pictures,

    真的就像有塊即時拼圖 在我的腦海中。

  • it's literally like a real-time puzzle going on in my mind.

    我以時間為基礎來建構一張相片,

  • I build a photograph based on time,

    這個是我說的母版。

  • and this is what I call the master plate.

    我們要花好幾個月來完成這個。

  • This can take us several months to complete.

    這個工作好玩的地方是

  • The fun thing about this work is

    無論我在哪天上去照相, 都沒有任何控制權。

  • I have absolutely zero control when I get up there

    所以我不知道誰會出現在照片裡,

  • on any given day and capture photographs.

    那天的日出日落好不好看 都無法控制。

  • So I never know who's going to be in the picture,

    只有到了攝影最後,

  • if it's going to be a great sunrise or sunset -- no control.

    如果那天我真的運氣很好, 每件事都還保持原樣,

  • It's at the end of the process,

    我才會決定誰入選誰出局,

  • if I've had a really great day and everything remained the same,

    這些都以時間為基礎。

  • that I then decide who's in and who's out,

    我會在費時一個月以上的編輯中, 選出最好的幾個時刻,

  • and it's all based on time.

    然後把他們合成進母版。

  • I'll take those best moments that I pick over a month of editing

    我把白天黑夜壓縮起來,

  • and they get seamlessly blended into the master plate.

    照我看到的樣子,

  • I'm compressing the day and night

    在這兩種非常不協調的世界之間 做出一種獨特的和諧感。

  • as I saw it,

    繪畫一直都對我的工作 有很重要的影響,

  • creating a unique harmony between these two very discordant worlds.

    我一直是阿爾伯特·比爾施塔特 (Albert Bierstadt) 的大粉絲,

  • Painting has always been a really important influence in all my work

    他是哈德遜河派的偉大畫家。

  • and I've always been a huge fan of Albert Bierstadt,

    他啟發我做出最近的系列作品 ──國家公園。

  • the great Hudson River School painter.

    這是比爾施塔特的優勝美地;

  • He inspired a recent series that I did on the National Parks.

    這是我做出的優勝美地照片。

  • This is Bierstadt's Yosemite Valley.

    這其實是 2016 年一月

  • So this is the photograph I created of Yosemite.

    國家地理雜誌的封面故事。

  • This is actually the cover story of the 2016 January issue

    這張相片裡我拍了超過 30 小時的照片。

  • of National Geographic.

    我真的就在懸崖的一邊,

  • I photographed for over 30 hours in this picture.

    在星月交際時拍攝星星月亮,

  • I was literally on the side of a cliff,

    月光照亮伊爾酋長岩 (El Capitan)。

  • capturing the stars and the moonlight as it transitions,

    我也捕捉到整個景觀 時間轉換之際。

  • the moonlight lighting El Capitan.

    最棒的部分,很明顯, 就是看到人文的神奇時刻

  • And I also captured this transition of time throughout the landscape.

    隨著時間轉變,

  • The best part is obviously seeing the magical moments of humanity

    從白晝到黑夜。

  • as time changed --

    在我的私人筆記本裡,

  • from day into night.

    我其實在夾層中塞了一張 比爾施塔特的畫作影印。

  • And on a personal note,

    那天山谷日出時,

  • I actually had a photocopy of Bierstadt's painting in my pocket.

    我真的興奮到發抖,

  • And when that sun started to rise in the valley,

    因為我看著那張畫作然後大叫:

  • I started to literally shake with excitement

    「不得了,我取得跟 比爾施塔特一樣的光線,

  • because I looked at the painting and I go,

    跟一百年前一樣!」

  • "Oh my god, I'm getting Bierstadt's exact same lighting

    「從白晝到黑夜」包羅萬象,

  • 100 years earlier."

    它就像我心所愛的攝影媒介全集。

  • Day to Night is about all the things,

    它跟景觀有關,

  • it's like a compilation of all the things I love

    跟街頭攝影有關,

  • about the medium of photography.

    跟顏色、建築、

  • It's about landscape,

    角度、比例都有關, 還跟歷史特別有關。

  • it's about street photography,

    這是我能夠拍攝的東西裡 極具歷史性的時刻,

  • it's about color, it's about architecture,

    2013 年巴拉克·歐巴馬 總統就職典禮。

  • perspective, scale -- and, especially, history.

    如果你仔細看這張照片,

  • This is one of the most historical moments

    你其實可以在這幾個大電視裡 看到時間的變化。

  • I've been able to photograph,

    你可以看到蜜雪兒與孩子一起等待,

  • the 2013 Presidential Inauguration of Barack Obama.

    總統現在與群眾打招呼,

  • And if you look closely in this picture,

    他宣誓,

  • you can actually see time changing

    發表就職演說。

  • in those large television sets.

    我在做像這樣的照片時 其實有多方面的挑戰。

  • You can see Michelle waiting with the children,

    就拿這張照片來說,

  • the president now greets the crowd,

    我待在一部 50 呎高的 剪刀式起降機上,

  • he takes his oath,

    還不太穩。

  • and now he's speaking to the people.

    所以每次我的助手和我移位時,

  • There's so many challenging aspects when I create photographs like this.

    我們的水平線就跟著移位。

  • For this particular photograph,

    所以你看到的每張相片,

  • I was in a 50-foot scissor lift up in the air

    這張裡約有 1,800 張照片,

  • and it was not very stable.

    每次我按下快門,我們兩個都得把腳

  • So every time my assistant and I shifted our weight,

    牢牢黏在位置上不動。

  • our horizon line shifted.

    (掌聲)

  • So for every picture you see,

    在這份工作中我學到很多厲害的事。

  • and there were about 1,800 in this picture,

    我想最重要的兩點就是耐心

  • we both had to tape our feet into position

    及觀察的力量。

  • every time I clicked the shutter.

    你從上方拍攝像紐約這樣的城市時,

  • (Applause)

    我發現在車子裡的人,

  • I've learned so many extraordinary things doing this work.

    可以說是每天和我一起生活的人,

  • I think the two most important are patience

    他們看起來一點都不像 車子裡的人了。

  • and the power of observation.

    他們感覺像一大群魚,

  • When you photograph a city like New York from above,

    以一種湧現的行為模式存在。

  • I discovered that those people in cars

    有時候大家在說紐約的能量,

  • that I sort of live with everyday,

    我想這張影像抓住了精髓。

  • they don't look like people in cars anymore.

    如果你仔細看我的作品,

  • They feel like a giant school of fish,

    你會看到裡面在說故事。

  • it was a form of emergent behavior.

    你會發現時代廣場是座峽谷,

  • And when people describe the energy of New York,

    它的陰影、它的陽光。

  • I think this photograph begins to really capture that.

    所以我決定在這張影像中, 要以棋盤格表現時間。

  • When you look closer in my work,

    所以只要有陰影的地方就是晚上,

  • you can see there's stories going on.

    有陽光的地方就是白天。

  • You realize that Times Square is a canyon,

    時間是很厲害的東西,

  • it's shadow and it's sunlight.

    我們永遠也無法完全理解。

  • So I decided, in this photograph, I would checkerboard time.

    但是以這種非常獨特和特別的方法,

  • So wherever the shadows are, it's night

    我相信這些相片 能讓我們更了解時間。

  • and wherever the sun is, it's actually day.

    他們體現了一種新的、 形而上的視覺現實。

  • Time is this extraordinary thing

    當你花 15 小時看一個地方,

  • that we never can really wrap our heads around.

    你看事情會有一點點不一樣,

  • But in a very unique and special way,

    比你或我背著相機去某處,

  • I believe these photographs begin to put a face on time.

    照張相,然後就離開不一樣。

  • They embody a new metaphysical visual reality.

    我有個很棒的例子,

  • When you spend 15 hours looking at a place,

    我稱為「聖心堂自拍」。

  • you're going to see things a little differently

    我觀察了 15 個小時以上,

  • than if you or I walked up with our camera,

    這些人連看都沒看聖心堂一眼。

  • took a picture, and then walked away.

    他們比較想用它當布景。

  • This was a perfect example.

    他們會走到前面,照張相,

  • I call it "Sacré-Coeur Selfie."

    然後走開。

  • I watched over 15 hours

    我發現這是個絕妙的例子,

  • all these people not even look at Sacré-Coeur.

    非常強大的脫節感, 存在於我們以為的人類經驗

  • They were more interested in using it as a backdrop.

    及人類經驗演變的結局之間。

  • They would walk up, take a picture,

    「分享」這種行為突然間變得

  • and then walk away.

    比經驗本身更為重要。

  • And I found this to be an absolutely extraordinary example,

    (掌聲)

  • a powerful disconnect between what we think the human experience is

    最後,我最新的影像,

  • versus what the human experience is evolving into.

    對我個人有特別的意義:

  • The act of sharing has suddenly become more important

    這是位於坦尚尼亞的 塞倫蓋提國家公園。

  • than the experience itself.

    這張是在塞羅勒那中央拍的,

  • (Applause)

    這裡不是保留區。

  • And finally, my most recent image,

    我特別挑在 動物遷徙高峰時期去那裡,

  • which has such a special meaning for me personally:

    希望能捕捉到最多種動物。

  • this is the Serengeti National Park in Tanzania.

    可惜,我們到達的時候,

  • And this is photographed in the middle of the Seronera,

    那裡正面臨乾旱, 就在遷徙高峰時期,

  • this is not a reserve.

    為期五週的乾旱。

  • I went specifically during the peak migration

    所以動物都被吸引到水邊。

  • to hopefully capture the most diverse range of animals.

    我發現這個水坑,

  • Unfortunately, when we got there,

    而且覺得如果一切的表現 都保持原樣,

  • there was a drought going on during the peak migration,

    我的確有機會捕捉到獨特的東西。

  • a five-week drought.

    我們花了三天研究它,

  • So all the animals were drawn to the water.

    然而什麼都比不上

  • I found this one watering hole,

    我在攝影當天親眼目睹的現象。

  • and felt if everything remained the same way it was behaving,

    我照了 26 個小時,

  • I had a real opportunity to capture something unique.

    躲在一個離地 18 呎高、 密不通風的鱷魚偽裝裡。

  • We spent three days studying it,

    我目睹的現象令人想像不到。

  • and nothing could have prepared me

    坦白說,還真符合聖經原則。

  • for what I witnessed during our shoot day.

    這 26 個小時,我們看到

  • I photographed for 26 hours

    這些競爭性物種 共享一種資源,就叫水。

  • in a sealed crocodile blind, 18 feet in the air.

    人類應該會在未來 50 年 為同樣的資源打仗,

  • What I witnessed was unimaginable.

    這些動物卻從未彼此吼叫半聲。

  • Frankly, it was Biblical.

    牠們好像都明白 我們人類不明白的道理。

  • We saw, for 26 hours,

    這種稱為水的珍貴資源

  • all these competitive species share a single resource called water.

    是我們必須共享的。

  • The same resource that humanity is supposed to have wars over

    我做這張照片時,

  • during the next 50 years.

    我了解到「從白晝到黑夜」 真的是觀看的新方法,

  • The animals never even grunted at each other.

    壓縮時間,

  • They seem to understand something that we humans don't.

    在照片中探索時空連續統。

  • That this precious resource called water

    當科技隨著攝影演進,

  • is something we all have to share.

    照片不只拿來溝通 時間與記憶的深層意義,

  • When I created this picture,

    還是一種新的方法 敘述不為人知的故事,

  • I realized that Day to Night is really a new way of seeing,

    為我們的世界開啟一扇 不受時間限制的窗口。

  • compressing time,

    謝謝。

  • exploring the space-time continuum within a photograph.

    (掌聲)

  • As technology evolves along with photography,

  • photographs will not only communicate a deeper meaning of time and memory,

  • but they will compose a new narrative of untold stories,