TEDSalon London Fall 2011
Erik Johansson: Impossible photography
Erik Johansson: nemogoče fotografije
Filmed:
Readability: 3.9
4,175,147 views
Erik Johansson ustvarja realistične fotografije z nemogočimi prizori -- namesto trenutkov zajema ideje. V tem duhovitem vodiču genij photoshopa opiše načela s katerimi mu uspe oživeti neresnične prizore, ki pa jih poskusi obdržati vizualno verjetne.
Erik Johansson - Photographer and retoucher
Photographer Erik Johansson creates impossible but photorealistic images that capture an idea, not a moment. Full bio
Photographer Erik Johansson creates impossible but photorealistic images that capture an idea, not a moment. Full bio
Double-click the English transcript below to play the video.
00:15
I'm here to share my photography.
0
0
3000
Z vami bi rad delil svoje fotografije.
00:19
Or is it photography?
1
4000
3000
Je to sploh fotografija?
00:22
Because, of course, this is a photograph
2
7000
2000
Navsezadnje je to fotografski posnetek,
00:24
that you can't take with your camera.
3
9000
2000
ki ga je nemogoče posneti s fotoaparatom.
00:26
Yet, my interest in photography started
4
11000
2000
Moje zanimanje za fotografijo se je vzbudilo
00:28
as I got my first digital camera
5
13000
2000
pri petnajstih letih, ko sem v roke
00:30
at the age of 15.
6
15000
3000
prijel svoj prvi digitalni fotoaparat.
00:33
It mixed with my earlier passion for drawing,
7
18000
2000
Združilo se je z mojo strastjo do risanja,
00:35
but it was a bit different,
8
20000
2000
ampak je bilo nekoliko drugače,
00:37
because using the camera,
9
22000
2000
ker se je pri uporabi fotoaparata
00:39
the process was in the planning instead.
10
24000
3000
proces skrival v načrtovanju.
00:42
And when you take a photograph with a camera,
11
27000
3000
Ko s fotoaparatom zajameš posnetek,
00:45
the process ends when you press the trigger.
12
30000
4000
se proces konča takoj ko pritisneš na sprožilec.
00:49
So to me it felt like photography was more about
13
34000
2000
Zato sem vedno imel občutek, da fotografija zahteva,
00:51
being at the right place and the right time.
14
36000
3000
da se nahajaš na pravem mestu ob pravem času.
00:54
I felt like anyone could do that.
15
39000
3000
Zdelo se mi je, da to zmore vsak.
00:57
So I wanted to create something different,
16
42000
3000
Zato sem želel ustvariti nekaj drugačnega,
01:00
something where the process starts
17
45000
2000
nekaj, kjer se proces
01:02
when you press the trigger.
18
47000
3000
s pritiskom na sprožilec šele začne.
01:05
Photos like this:
19
50000
2000
Takšne fotografije:
01:07
construction going on along a busy road.
20
52000
2000
gradbišče ob prometni cesti,
01:09
But it has an unexpected twist.
21
54000
3000
ki pa ima nepričakovan preobrat.
01:12
And despite that,
22
57000
2000
Kljub temu ohrani
01:14
it retains a level of realism.
23
59000
3000
neko stopnjo realističnosti.
01:17
Or photos like these --
24
62000
3000
Ali pa takšne fotografije--
01:20
both dark and colorful,
25
65000
3000
tako temne kot barvite.
01:23
but all with a common goal
26
68000
2000
Toda vse imajo skupni cilj
01:25
of retaining the level of realism.
27
70000
2000
in obdržijo neko stopnjo realizma.
01:27
When I say realism,
28
72000
2000
Ko rečem realizem,
01:29
I mean photo-realism.
29
74000
2000
imam v mislih fotorealizem.
01:31
Because, of course,
30
76000
2000
Ker to seveda
01:33
it's not something you can capture really,
31
78000
3000
ni nekaj kar lahko zares posnameš,
01:36
but I always want it to look like it could have been captured somehow
32
81000
3000
toda vedno si želim, da bi fotografija
01:39
as a photograph.
33
84000
2000
izgledala pristna.
01:41
Photos where you will need a brief moment to think
34
86000
3000
Tako si moraš vzeti trenutek časa,
01:44
to figure out the trick.
35
89000
2000
da lahko razbereš iluzijo.
01:46
So it's more about capturing an idea
36
91000
2000
Gre veliko bolj za zajemanje idej
01:48
than about capturing a moment really.
37
93000
3000
kot zajemanje trenutkov.
01:51
But what's the trick
38
96000
2000
Toda s čim lahko
01:53
that makes it look realistic?
39
98000
2000
dosežemo realistični učinek?
01:55
Is it something about the details
40
100000
2000
Mogoče s podrobnostimi
01:57
or the colors?
41
102000
2000
ali barvami?
01:59
Is it something about the light?
42
104000
3000
Ima svetloba kaj pri tem?
02:02
What creates the illusion?
43
107000
3000
Kaj ustvari to iluzijo?
02:06
Sometimes the perspective is the illusion.
44
111000
3000
Včasih je iluzija perspektiva.
02:09
But in the end, it comes down to how we interpret the world
45
114000
3000
Toda na koncu je vse stvar našega dojemanja sveta
02:12
and how it can be realized on a two-dimensional surface.
46
117000
3000
in kako ga lahko poustvarimo na dvodimenzionalni površini.
02:15
It's not really what is realistic,
47
120000
2000
Ni toliko pomembno, kaj je realistično,
02:17
it's what we think looks realistic really.
48
122000
4000
kot kaj mislimo, da je realistično.
02:21
So I think the basics
49
126000
2000
Zdi se mi, da so osnove
02:23
are quite simple.
50
128000
2000
precej enostavne.
02:25
I just see it as a puzzle of reality
51
130000
3000
Svet vidim kot sestavljanko resničnosti,
02:28
where you can take different pieces of reality and put it together
52
133000
3000
kjer lahko vzamem različne dele resničnosti in jih sestavim
02:31
to create alternate reality.
53
136000
3000
v alternativno resničnost.
02:34
And let me show you a simple example.
54
139000
3000
Naj vam pokažem enostaven primer.
02:37
Here we have three perfectly imaginable physical objects,
55
142000
4000
Tukaj imamo tri povsem predstavljive fizične predmete,
02:41
something we all can relate to living in a three-dimensional world.
56
146000
3000
ki jih lahko povežemo s tridimenzionalnim svetom.
02:44
But combined in a certain way,
57
149000
3000
Če pa jih združimo na določen način,
02:47
they can create something that still looks three-dimensional,
58
152000
4000
se lahko združijo v nekaj, kar še vedno izgleda tridimenzionalno,
02:51
like it could exist.
59
156000
2000
kot bi lahko obstajalo.
02:53
But at the same time, we know it can't.
60
158000
3000
Toda obenem vemo, da ne more.
02:56
So we trick our brains,
61
161000
2000
Zato pretentamo svoje možgane,
02:58
because our brain simply doesn't accept the fact
62
163000
2000
ker enostavno ne morejo sprejeti dejstva,
03:00
that it doesn't really make sense.
63
165000
2000
da to ni smiselno.
03:02
And I see the same process
64
167000
3000
Jaz vidim enak proces
03:05
with combining photographs.
65
170000
3000
pri združevanju fotografij.
03:08
It's just really about combining different realities.
66
173000
3000
Gre le za združevanje različnih resničnosti.
03:12
So the things that make a photograph look realistic,
67
177000
4000
Stvari, zaradi katerih izgleda fotografija realistična,
03:16
I think it's the things that we don't even think about,
68
181000
3000
so po mojem mnenju tiste, o katerih sploh ne razmišljamo.
03:19
the things all around us in our daily lives.
69
184000
4000
Stvari, ki so okrog nas v našem vsakdanu.
03:23
But when combining photographs,
70
188000
2000
Ampak ko združujemo fotografije,
03:25
this is really important to consider,
71
190000
2000
moramo o tem dobro premisliti,
03:27
because otherwise it just looks wrong somehow.
72
192000
4000
ker bo drugače vse skupaj izgledalo narobe.
03:31
So I would like to say that there are three simple rules to follow
73
196000
3000
Zato bi rad izpostavil tri enostavna pravila, ki se mi zdijo pomembna,
03:34
to achieve a realistic result.
74
199000
3000
da lahko dosežemo realistični učinek.
03:37
As you can see, these images aren't really special.
75
202000
3000
Kot lahko vidite, ta posnetka nista nič posebnega.
03:40
But combined, they can create something like this.
76
205000
4000
Ampak ko ju združimo, lahko ustvarimo nekaj takšnega.
03:47
So the first rule is that photos combined
77
212000
2000
Prvo pravilo je torej, da morajo fotografije
03:49
should have the same perspective.
78
214000
2000
imeti enako perspektivo.
03:51
Secondly, photos combined
79
216000
2000
Drugič, fotografije, ki jih združujemo,
03:53
should have the same type of light.
80
218000
3000
morajo biti enako osvetljene.
03:56
And these two images both fulfill these two requirements --
81
221000
3000
Oba prikazana posnetka izpolnjujeta ta dva pogoja --
03:59
shot at the same height and in the same type of light.
82
224000
4000
posneta sta bila na enaki višini in ob enaki svetlobi.
04:03
The third one is about making it impossible to distinguish
83
228000
3000
Tretje pravilo pa zahteva, da morate odstraniti robove,
04:06
where the different images begin and end
84
231000
3000
po katerih se da razbrati kje se posnetki
04:09
by making it seamless.
85
234000
3000
začnejo in kje končajo.
04:12
Make it impossible to say
86
237000
2000
Ne sme biti očitno
04:14
how the image actually was composed.
87
239000
2000
kako je bila slika sestavljena.
04:16
So by matching color, contrast and brightness
88
241000
4000
Torej usklajevanje barv, kontrasta in svetlobe
04:20
in the borders between the different images,
89
245000
2000
ob robovih posameznih posnetkov,
04:22
adding photographic defects
90
247000
2000
dodajanje fotografskih učinkov
04:24
like depth of field,
91
249000
2000
kot globinsko ostrino,
04:26
desaturated colors and noise,
92
251000
3000
razsičenje barv in šum,
04:29
we erase the borders between the different images
93
254000
2000
vse to pripomore k brisanju meja med različnimi posnetki
04:31
and make it look like one single image,
94
256000
3000
in jih navidezno združi v eno sliko.
04:34
despite the fact that one image
95
259000
2000
Čeprav je ena slika sestavljena
04:36
can contain hundreds of layers basically.
96
261000
3000
iz stotih slojev.
04:40
So here's another example.
97
265000
3000
Tukaj je še en primer.
04:43
(Laughter)
98
268000
2000
(Smeh)
04:45
One might think that this is just an image of a landscape
99
270000
3000
Marsikdo bi si mislil, da je to samo posnetek pokrajine
04:48
and the lower part is what's manipulated.
100
273000
3000
z obdelanim spodnjim delom.
04:51
But this image is actually entirely composed
101
276000
3000
Toda slika je v bistvu v celoti sestavljena
04:54
of photographs from different locations.
102
279000
3000
iz fotografij z različnih lokacij.
04:57
I personally think that it's easier to actually create a place
103
282000
3000
Osebno se mi zdi, da je nek kraj lažje ustvariti
05:00
than to find a place,
104
285000
2000
kot pa ga najti,
05:02
because then you don't need to compromise
105
287000
2000
ker potem pri idejah ni
05:04
with the ideas in your head.
106
289000
2000
potrebno ubirati srednje poti.
05:06
But it does require a lot of planning.
107
291000
3000
Je pa potrebno veliko načrtovanja.
05:09
And getting this idea during winter,
108
294000
2000
Ker se mi je ta ideja porodila pozimi,
05:11
I knew that I had several months to plan it,
109
296000
2000
sem imel več mesecev za načrtovanje
05:13
to find the different locations
110
298000
2000
in iskanje različnih lokacij.
05:15
for the pieces of the puzzle basically.
111
300000
3000
Torej za različne dele sestavljanke.
05:18
So for example,
112
303000
2000
Zato sem na primer
05:20
the fish was captured on a fishing trip.
113
305000
3000
to ribo fotografiral na ribiškem izletu.
05:23
The shores are from a different location.
114
308000
2000
Nabrežja so z neke druge lokacije.
05:25
The underwater part was captured in a stone pit.
115
310000
3000
Podvodni del sem posnel na kamnolomu.
05:28
And yeah, I even turned the house on top of the island red
116
313000
3000
Hišo na otoku sem celo pobarval rdeče,
05:31
to make it look more Swedish.
117
316000
3000
da bi bila bolj švedska.
05:34
So to achieve a realistic result,
118
319000
2000
Pri doseganju realističnega učinka
05:36
I think it comes down to planning.
119
321000
3000
je na koncu vse odvisno od načrtovanja.
05:39
It always starts with a sketch, an idea.
120
324000
4000
Vedno se začne s skico, z idejo.
05:43
Then it's about combining the different photographs.
121
328000
3000
Potem je potrebno še samo združiti različne fotografije.
05:46
And here every piece is very well planned.
122
331000
3000
Tukaj je vsak del dobro načrtovan.
05:49
And if you do a good job capturing the photos,
123
334000
3000
Če se dobro odrežete že pri fotografiranju,
05:52
the result can be quite beautiful
124
337000
2000
bo končni izdelek zelo lep
05:54
and also quite realistic.
125
339000
3000
in tudi precej realističen.
05:58
So all the tools are out there,
126
343000
4000
Vsa orodja so nam na voljo,
06:02
and the only thing that limits us
127
347000
3000
omejuje nas le
06:05
is our imagination.
128
350000
4000
naša domišljija.
06:09
Thank you.
129
354000
2000
Hvala.
06:11
(Applause)
130
356000
4000
(Aplavz)
ABOUT THE SPEAKER
Erik Johansson - Photographer and retoucherPhotographer Erik Johansson creates impossible but photorealistic images that capture an idea, not a moment.
Why you should listen
Erik Johansson is a self-taught photograher who learned how to retouch photos to make impossible and extraordinary images. Growing up with a grandmother who painted and a penchant for escaping into the other worlds of video games, he naturally blended the two into a technique using computers to generate images that couldn't be captured by a camera.
Erik Johansson | Speaker | TED.com