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  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • Thank you.

  • (Applause)

I'm here to share my photography.

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A2 US TED realistic photography realism photograph image

【TED】Erik Johansson: Impossible photography (Impossible photography | Erik Johansson)

  • 9782 889
    VoiceTube posted on 2014/08/24
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