Impossible photography | Erik Johansson

Translator: Miha Helbl Reviewer: Lenka Tušar

I'm here to share my photography.

Z vami bi rad delil svoje fotografije.

Or is it photography?

Je to sploh fotografija?

Because, of course, this is a photograph

Navsezadnje je to fotografski posnetek,

that you can't take with your camera.

ki ga je nemogoče posneti s fotoaparatom.

Yet, my interest in photography started

Moje zanimanje za fotografijo se je vzbudilo

as I got my first digital camera

pri petnajstih letih, ko sem v roke

at the age of 15.

prijel svoj prvi digitalni fotoaparat.

It mixed with my earlier passion for drawing,

Združilo se je z mojo strastjo do risanja,

but it was a bit different,

ampak je bilo nekoliko drugače,

because using the camera,

ker se je pri uporabi fotoaparata

the process was in the planning instead.

proces skrival v načrtovanju.

And when you take a photograph with a camera,

Ko s fotoaparatom zajameš posnetek,

the process ends when you press the trigger.

se proces konča takoj ko pritisneš na sprožilec.

So to me it felt like photography was more about

Zato sem vedno imel občutek, da fotografija zahteva,

being at the right place and the right time.

da se nahajaš na pravem mestu ob pravem času.

I felt like anyone could do that.

Zdelo se mi je, da to zmore vsak.

So I wanted to create something different,

Zato sem želel ustvariti nekaj drugačnega,

something where the process starts

nekaj, kjer se proces

when you press the trigger.

s pritiskom na sprožilec šele začne.

Photos like this:

Takšne fotografije:

construction going on along a busy road.

gradbišče ob prometni cesti,

But it has an unexpected twist.

ki pa ima nepričakovan preobrat.

And despite that,

Kljub temu ohrani

it retains a level of realism.

neko stopnjo realističnosti.

Or photos like these --

Ali pa takšne fotografije--

both dark and colorful,

tako temne kot barvite.

but all with a common goal

Toda vse imajo skupni cilj

of retaining the level of realism.

in obdržijo neko stopnjo realizma.

When I say realism,

Ko rečem realizem,

I mean photo-realism.

imam v mislih fotorealizem.

Because, of course,

Ker to seveda

it's not something you can capture really,

ni nekaj kar lahko zares posnameš,

but I always want it to look like it could have been captured somehow

toda vedno si želim, da bi fotografija

as a photograph.

izgledala pristna.

Photos where you will need a brief moment to think

Tako si moraš vzeti trenutek časa,

to figure out the trick.

da lahko razbereš iluzijo.

So it's more about capturing an idea

Gre veliko bolj za zajemanje idej

than about capturing a moment really.

kot zajemanje trenutkov.

But what's the trick

Toda s čim lahko

that makes it look realistic?

dosežemo realistični učinek?

Is it something about the details

Mogoče s podrobnostimi

or the colors?

ali barvami?

Is it something about the light?

Ima svetloba kaj pri tem?

What creates the illusion?

Kaj ustvari to iluzijo?

Sometimes the perspective is the illusion.

Včasih je iluzija perspektiva.

But in the end, it comes down to how we interpret the world

Toda na koncu je vse stvar našega dojemanja sveta

and how it can be realized on a two-dimensional surface.

in kako ga lahko poustvarimo na dvodimenzionalni površini.

It's not really what is realistic,

Ni toliko pomembno, kaj je realistično,

it's what we think looks realistic really.

kot kaj mislimo, da je realistično.

So I think the basics

Zdi se mi, da so osnove

are quite simple.

precej enostavne.

I just see it as a puzzle of reality

Svet vidim kot sestavljanko resničnosti,

where you can take different pieces of reality and put it together

kjer lahko vzamem različne dele resničnosti in jih sestavim

to create alternate reality.

v alternativno resničnost.

And let me show you a simple example.

Naj vam pokažem enostaven primer.

Here we have three perfectly imaginable physical objects,

Tukaj imamo tri povsem predstavljive fizične predmete,

something we all can relate to living in a three-dimensional world.

ki jih lahko povežemo s tridimenzionalnim svetom.

But combined in a certain way,

Če pa jih združimo na določen način,

they can create something that still looks three-dimensional,

se lahko združijo v nekaj, kar še vedno izgleda tridimenzionalno,

like it could exist.

kot bi lahko obstajalo.

But at the same time, we know it can't.

Toda obenem vemo, da ne more.

So we trick our brains,

Zato pretentamo svoje možgane,

because our brain simply doesn't accept the fact

ker enostavno ne morejo sprejeti dejstva,

that it doesn't really make sense.

da to ni smiselno.

And I see the same process

Jaz vidim enak proces

with combining photographs.

pri združevanju fotografij.

It's just really about combining different realities.

Gre le za združevanje različnih resničnosti.

So the things that make a photograph look realistic,

Stvari, zaradi katerih izgleda fotografija realistična,

I think it's the things that we don't even think about,

so po mojem mnenju tiste, o katerih sploh ne razmišljamo.

the things all around us in our daily lives.

Stvari, ki so okrog nas v našem vsakdanu.

But when combining photographs,

Ampak ko združujemo fotografije,

this is really important to consider,

moramo o tem dobro premisliti,

because otherwise it just looks wrong somehow.

ker bo drugače vse skupaj izgledalo narobe.

So I would like to say that there are three simple rules to follow

Zato bi rad izpostavil tri enostavna pravila, ki se mi zdijo pomembna,

to achieve a realistic result.

da lahko dosežemo realistični učinek.

As you can see, these images aren't really special.

Kot lahko vidite, ta posnetka nista nič posebnega.

But combined, they can create something like this.

Ampak ko ju združimo, lahko ustvarimo nekaj takšnega.

So the first rule is that photos combined

Prvo pravilo je torej, da morajo fotografije

should have the same perspective.

imeti enako perspektivo.

Secondly, photos combined

Drugič, fotografije, ki jih združujemo,

should have the same type of light.

morajo biti enako osvetljene.

And these two images both fulfill these two requirements --

Oba prikazana posnetka izpolnjujeta ta dva pogoja --

shot at the same height and in the same type of light.

posneta sta bila na enaki višini in ob enaki svetlobi.

The third one is about making it impossible to distinguish

Tretje pravilo pa zahteva, da morate odstraniti robove,

where the different images begin and end

po katerih se da razbrati kje se posnetki

by making it seamless.

začnejo in kje končajo.

Make it impossible to say

Ne sme biti očitno

how the image actually was composed.

kako je bila slika sestavljena.

So by matching color, contrast and brightness

Torej usklajevanje barv, kontrasta in svetlobe

in the borders between the different images,

ob robovih posameznih posnetkov,

adding photographic defects

dodajanje fotografskih učinkov

like depth of field,

kot globinsko ostrino,

desaturated colors and noise,

razsičenje barv in šum,

we erase the borders between the different images

vse to pripomore k brisanju meja med različnimi posnetki

and make it look like one single image,

in jih navidezno združi v eno sliko.

despite the fact that one image

Čeprav je ena slika sestavljena

can contain hundreds of layers basically.

iz stotih slojev.

So here's another example.

Tukaj je še en primer.

(Laughter)

(Smeh)

One might think that this is just an image of a landscape

Marsikdo bi si mislil, da je to samo posnetek pokrajine

and the lower part is what's manipulated.

z obdelanim spodnjim delom.

But this image is actually entirely composed

Toda slika je v bistvu v celoti sestavljena

of photographs from different locations.

iz fotografij z različnih lokacij.

I personally think that it's easier to actually create a place

Osebno se mi zdi, da je nek kraj lažje ustvariti

than to find a place,

kot pa ga najti,

because then you don't need to compromise

ker potem pri idejah ni

with the ideas in your head.

potrebno ubirati srednje poti.

But it does require a lot of planning.

Je pa potrebno veliko načrtovanja.

And getting this idea during winter,

Ker se mi je ta ideja porodila pozimi,

I knew that I had several months to plan it,

sem imel več mesecev za načrtovanje

to find the different locations

in iskanje različnih lokacij.

for the pieces of the puzzle basically.

Torej za različne dele sestavljanke.

So for example,

Zato sem na primer

the fish was captured on a fishing trip.

to ribo fotografiral na ribiškem izletu.

The shores are from a different location.

Nabrežja so z neke druge lokacije.

The underwater part was captured in a stone pit.

Podvodni del sem posnel na kamnolomu.

And yeah, I even turned the house on top of the island red

Hišo na otoku sem celo pobarval rdeče,

to make it look more Swedish.

da bi bila bolj švedska.

So to achieve a realistic result,

Pri doseganju realističnega učinka

I think it comes down to planning.

je na koncu vse odvisno od načrtovanja.

It always starts with a sketch, an idea.

Vedno se začne s skico, z idejo.

Then it's about combining the different photographs.

Potem je potrebno še samo združiti različne fotografije.

And here every piece is very well planned.

Tukaj je vsak del dobro načrtovan.

And if you do a good job capturing the photos,

Če se dobro odrežete že pri fotografiranju,

the result can be quite beautiful

bo končni izdelek zelo lep

and also quite realistic.

in tudi precej realističen.

So all the tools are out there,

Vsa orodja so nam na voljo,

and the only thing that limits us

omejuje nas le

is our imagination.

naša domišljija.

Thank you.

Hvala.

(Applause)

(Aplavz)