I'm driven by pure passion to create photographs that tell stories.
我创作有故事的照片，是出于纯粹的热忱。
Photography can be described as the recording of a single moment frozen within a fraction of time.
摄影是对瞬间的记录，凝固了永恒的某一个瞬间。
Each moment or photograph represents a tangible piece of our memories as time passes.
随着时间流逝，每个瞬间或照片都将我们的回忆化作实体。
But what if you could capture more than one moment in a photograph?
但是如果你可以在一张照片中捕捉不止一个瞬间呢？
What if a photograph could actually collapse time, compressing the best moments of the day and the night seamlessly into one single image?
假如照片可以解构并重组时间，浓缩日夜中最佳的时刻，并将其在一张图片上完美呈现呢？
I've created a concept called "Day to Night" and I believe it's going to change the way you look at the world. I know it has for me.
我创造了“昼夜之间”这个概念，我深信它将改变人们看待世界的方式。至少它已改变了我。
My process begins by photographing iconic locations, places that are part of what I call our collective memory.
我的创作始于对地标的记录，我将这些地方看作大家“记忆中的共鸣”。
I photograph from a fixed vantage point, and I never move.
我大多取景于固定的至高点，而且从不移动。
I capture the fleeting moments of humanity and light as time passes.
随着时间流动，我捕捉人类活动与光影变幻。
Photographing for anywhere from 15 to 30 hours and shooting over 1,500 images, I then choose the best moments of the day and night.
每个地点我都连续拍摄15至30小时，单次素材超过1500张，之后我挑选出最佳的瞬间，从白昼到黑夜。
Using time as a guide, I seamlessly blend those best moments into one single photograph, visualizing our conscious journey with time.
以时间为轴，将这些美妙的瞬间融合到一张照片中，将时间的流逝以具象的方式呈现。
I can take you to Paris for a view from the Tournelle Bridge.
我可以带你们去巴黎，在托内尔桥上看风景。
And I can show you the early morning rowers along the River Seine.
你们能看到清晨的桨手自塞纳河上掠过。
And simultaneously, I can show you Notre Dame aglow at night.
与此同时，也能看到巴黎圣母院夜晚的灯光。
And in between, I can show you the romance of the City of Light.
晨昏之间，还能感受巴黎的浪漫气氛。
I am essentially a street photographer from 50 feet in the air, and every single thing you see in this photograph actually happened on this day.
我是一个常年悬空15米的街头摄影师，这张照片中的一切，都是在当天真实发生的。
Day to Night is a global project, and my work has always been about history.
“昼夜之间”是一个环球项目，而我的作品一直以历史为核心。
I'm fascinated by the concept of going to a place like Venice and actually seeing it during a specific event.
我着迷于像威尼斯这样的地方，也曾在特殊的日子造访过它。
And I decided I wanted to see the historical Regata, an event that's actually been taking place since 1498.
我去看当地传统的划船比赛，它的历史可追溯到1498年。
The boats and the costumes look exactly as they did then.
船只和选手服饰的样子，与旧时一模一样。
And an important element that I really want you guys to understand is:
有一点很重要，我想特别强调一下：
this is not a timelapse, this is me photographing throughout the day and the night.
这并不是延时拍摄，而是我夜以继日的（连续）拍摄。
I am a relentless collector of magical moments.
对于捕捉那些惊艳的刹那，我从不倦怠。
And the thing that drives me is the fear of just missing one of them.
我唯恐错失任何精彩瞬间，这是我最大的动力。
The entire concept came about in 1996.
整个“昼夜之间”的概念始于1996年。
LIFE Magazine commissioned me to create a panoramic photograph of the cast and crew of Baz Luhrmann's film Romeo + Juliet.
当时《LIFE》杂志委任我为巴兹·鲁曼导演的电影《罗密欧与朱丽叶》的全体演职人员拍摄一张全景照。
I got to the set and realized: it's a square.
我去了才发现，现场搭的景是方形的。
So the only way I could actually create a panoramic was to shoot a collage of 250 single images.
我能想到的拍摄全景图的唯一方法，就是拍摄250张照片，然后再进行拼贴。
So I had DiCaprio and Claire Danes embracing.
于是我让迪卡普里奥和丹尼斯相拥。
And as I pan my camera to the right, I noticed there was a mirror on the wall and I saw they were actually reflecting in it.
当我将镜头移至场景右侧时，我发现墙上有面镜子，而他们的身影恰好被反射在镜中。
And for that one moment, that one image I asked them, "Would you guys just kiss for this one picture?"
为了那个瞬间，那幅画面，我问他们，“为了这张照片，你们能亲吻对方吗？”
And then I came back to my studio in New York,
之后我回到了纽约的工作室，
and I hand-glued these 250 images together and stood back and went, "Wow, this is so cool! I'm changing time in a photograph."
把250张照片一张张拼在一起，我后退一步，发出赞叹：“哇，这太酷了！我改变了照片中的时间。”
And that concept actually stayed with me for 13 years until technology finally has caught up to my dreams.
之后13年间，这个理念一直贯穿于我的作品之中，直到技术终于赶上了我的梦想。
This is an image I created of the Santa Monica Pier, Day to Night.
这是一张圣莫妮卡码头昼夜之间的照片。
And I'm going to show you a little video that gives you an idea of what it's like being with me when I do these pictures.
下面我要放一个小短片，让你们感受一下我的创作过程。
To start with, you have to understand that to get views like this, most of my time is spent up high, and I'm usually in a cherry picker or a crane.
首先你们得知道，要拍出这样的照片，我大部分时间都得待在半空中，通常是在升降台或者吊车上。
So this is a typical day, 12-18 hours, non-stop capturing the entire day unfold.
这是很普通的一天，连续拍摄12-18个小时，记录下完整的一天。
One of the things that's great is I love to people-watch.
我喜欢观察人，所以我很享受这个过程。
And trust me when I tell you, this is the greatest seat in the house to have.
相信我，半空中绝对是全场最好的位子。
But this is really how I go about creating these photographs.
不过这就是我进行创作的真实场景。
So once I decide on my view and the location, I have to decide where day begins and night ends.
一旦确认好取景范围和位置，我就要决定照片中的一天何时开始，何时结束。
And that's what I call the time vector. Einstein described time as a fabric.
我把这叫做时间矢量。爱因斯坦把时间比作一块布料。
Think of the surface of a trampoline: it warps and stretches with gravity.
你们想象一下蹦床的表面：它会在重力的作用下弯曲和拉伸。
I see time as a fabric as well, except I take that fabric and flatten it, compress it into single plane.
我也把时间看做布料，只不过我把它平摊到一个二维平面上。
One of the unique aspects of this work is also, if you look at all my pictures, the time vector changes:
我的工作还有个特别的方面，如果你细看我所有的照片，你会发现我的时间矢量是变化的：
sometimes I'll go left to right, sometimes front to back, up or down, even diagonally.
有时从左往右，有时从近到远，从上到下，有时甚至沿对角线。
I am exploring the space-time continuum within a two-dimensional still photograph.
我在平面的静态照片中，探索空间与时间的统一。
Now when I do these pictures, it's literally like a real-time puzzle going on in my mind.
当我在创作这些作品时，就像在脑中同步拼一幅拼图。
I build a photograph based on time, and this is what I call the master plate.
我以时间为轴创作照片，称之为模板。
This can take us several months to complete.
整个创作过程通常花费数月完成。
The fun thing about this work is I have absolutely zero control when I get up there on any given day and capture photographs.
其有趣之处在于，我一旦踏上拍摄点，对拍摄对象就完全无法掌控。
So I never know who's going to be in the picture, if it's going to be a great sunrise or sunset -- no control.
我既不知道谁会被拍到，也不知道日出或日落是否迷人--完全控制不了。
It's at the end of the process, if I've had a really great day and everything remained the same,
只有等拍摄完成，我才知道当天拍得怎么样，有没有好的素材，
that I then decide who's in and who's out, and it's all based on time.
然后我才能进行取舍，这一切都取决于时间。
I'll take those best moments that I pick over a month of editing and they get seamlessly blended into the master plate.
经过一个多月的编辑挑选，我选出最棒的瞬间，将它们无缝地拼接于模板之中。
I'm compressing the day and night as I saw it, creating a unique harmony between these two very discordant worlds.
我把自己眼中的白天和黑夜置于同一张图像中，让这两个截然不同的世界和谐交融。
Painting has always been a really important influence in all my work
绘画一直对我的作品有着深远影响，
and I've always been a huge fan of Albert Bierstadt, the great Hudson River School painter.
我很喜欢阿尔伯特·比茲塔特，他是一位哈德逊河画派的画家。

He inspired a recent series that I did on the National Parks.
他启发了我最近拍摄的国家公园系列作品。
This is Bierstadt's Yosemite Valley. So this is the photograph I created of Yosemite.
这是他画的《优胜美地河谷》。而这张是我在优胜美地河谷创作的图片。
This is actually the cover story of the 2016 January issue of National Geographic.
这张照片后来被《国家地理》杂志甄用，作为2016年1月刊的封面。
I photographed for over 30 hours in this picture.
我为这张照片持续拍摄了超过30个小时。
I was literally on the side of a cliff, capturing the stars and the moonlight as it transitions, the moonlight lighting El Capitan.
当时我真的就站在悬崖边上，捕捉星月交辉的变化和洒在酋长岩上的月光。
And I also captured this transition of time throughout the landscape.
同时我也在固定的景致中捕捉时间的流动。
The best part is obviously seeing the magical moments of humanity as time changed -- from day into night.
其中最棒的，无疑是在时光的流转中见证人类活动的一个个美好瞬间--从早到晚，从不间断。
And on a personal note, I actually had a photocopy of Bierstadt's painting in my pocket.
在我的笔记本里，一直夹着一张比兹塔特作品的副本。
And when that sun started to rise in the valley,
当太阳从河谷中渐渐升起时，
I started to literally shake with excitement because I looked at the painting and I go,
我为眼前的美景激动到颤抖，我看着他的画，意识到，
"Oh my god, I'm getting Bierstadt's exact same lighting 100 years earlier."
“天啊，我眼前的光线效果，跟一百年前比兹塔特看到的，简直一模一样。”
Day to Night is about all the things, it's like a compilation of all the things I love about the medium of photography.
“昼夜之间”的主题覆盖了所有事物，在摄影这种媒介中我所热爱的一切。
It's about landscape, it's about street photography, it's about color, it's about architecture, perspective, scale -- and, especially, history.
它关乎风景，关乎街头摄影，关乎色彩，也关乎建筑，关乎透视、比例，特别是历史。
This is one of the most historical moments I've been able to photograph, the 2013 Presidential Inauguration of Barack Obama.
这张照片，在我所有的照片里是最具历史意义的，这是2013年奥巴马总统就职仪式。
And if you look closely in this picture, you can actually see time changing in those large television sets.
如果你细看这张照片，你其实可以在这些大屏幕中看到时间的变化。
You can see Michelle waiting with the children, the president now greets the crowd, he takes his oath, and now he's speaking to the people.
你可以看到米歇尔和孩子在等待，总统向观众致意，然后他进行宣誓，之后他再向民众致辞。
There's so many challenging aspects when I create photographs like this.
在拍摄这类题材的照片时，遇到的挑战不计其数。
For this particular photograph, I was in a 50-foot scissor lift up in the air and it was not very stable.
我拍这张照片时，是在离地15米的一台剪叉式升降机里，而且它不是很稳。
So every time my assistant and I shifted our weight, our horizon line shifted.
所以每次助手和我在升降机里移动，我们的水平线也跟着变化。
So for every picture you see, and there were about 1,800 in this picture,
你们看到的每一张照片，这里面一共有差不多1800张，
we both had to tape our feet into position every time I clicked the shutter.
我们每次按下快门前，都必须把脚用胶带固定住。
I've learned so many extraordinary things doing this work.
从这份工作之中，我收获无数。
I think the two most important are patience and the power of observation.
其中我认为最重要的是耐心和观察的力量。
When you photograph a city like New York from above,
当我俯拍纽约这样的大都会时，
I discovered that those people in cars that I sort of live with everyday, they don't look like people in cars anymore.
我发现坐在车里的人，那些原本我很熟悉的人群，在我看来已经面目全非了。
They feel like a giant school of fish, it was a form of emergent behavior.
他们像是庞大的鱼群，像一种新的行为模式。
And when people describe the energy of New York, I think this photograph begins to really capture that.
人们常常说起纽约所蕴含的活力，我认为这张图片确实有捕捉到这一点。
When you look closer in my work, you can see there's stories going on.
如果你仔细看这张图，你会发现这里面是有故事的。
You realize that Times Square is a canyon, it's shadow and it's sunlight.
你会觉得时代广场其实是个峡谷，有阴影，也有阳光。
So I decided, in this photograph, I would checkerboard time.
于是我决定，在这一张照片中把时间排成棋盘状。
So wherever the shadows are, it's night and wherever the sun is, it's actually day.
有阴影的地方是黑夜，而有阳光的地方就是白天。
Time is this extraordinary thing that we never can really wrap our heads around.
时间是个太过神奇的东西，我们永远无法真正理解它。
But in a very unique and special way, I believe these photographs begin to put a face on time.
但是这些照片以一种独一无二的形式描绘出了时间的一种面貌。
They embody a new metaphysical visual reality. When you spend 15 hours looking at a place,
它们将抽象的视觉现实具体化了。当你用整整15个小时观察一个地方，
you're going to see things a little differently than if you or I walked up with our camera, took a picture, and then walked away.
你会发现一些特别之处，如果你我拿着相机走过去，拍张照片，然后离开，是无法发现的。
This was a perfect example. I call it "Sacré-Coeur Selfie."
这张照片就是一个典型的例子。我把它叫作“圣心大教堂旁的自拍”。
I watched over 15 hours all these people not even look at Sacré-Coeur.
我观察了不止15个小时，照片里的这些人根本没看圣心大教堂。
They were more interested in using it as a backdrop.
他们只是把它当作一块背景板。
They would walk up, take a picture, and then walk away.
他们走上前去，拍张照片，然后就走了。
And I found this to be an absolutely extraordinary example,
这一幕简直太典型了，
a powerful disconnect between what we think the human experience is versus what the human experience is evolving into.
它完美展现了我们自认为的亲身体验与现实中亲身体验的演变之间的巨大差异。
The act of sharing has suddenly become more important than the experience itself.
分享自己的体验突然变得比体验本身更为重要了。
And finally, my most recent image, which has such a special meaning for me personally: this is the Serengeti National Park in Tanzania.
最后，这是我最近所拍摄的一张照片，它对我个人而言有着特别的意义：照片中是坦桑尼亚的塞伦盖蒂国家公园。
And this is photographed in the middle of the Seronera, this is not a reserve.
是在塞罗勒那拍摄的，它不在保护区内。
I went specifically during the peak migration to hopefully capture the most diverse range of animals.
我特地选在动物迁徙的高峰期前往，就是为了拍摄尽可能多种类的动物。
Unfortunately, when we got there, there was a drought going on during the peak migration, a five-week drought.
但很不巧，当我们抵达的时候，迁徙高峰期伴随着一场旱灾，持续了整整5周。
So all the animals were drawn to the water.
所有动物都跑向了有水的地方。
I found this one watering hole, and felt if everything remained the same way it was behaving, I had a real opportunity to capture something unique.
我发现了照片中的这处水源，心想如果一切正常的话，我可能会拍到一些精彩的画面。
We spent three days studying it, and nothing could have prepared me for what I witnessed during our shoot day.
我们花了3天时间熟悉情况，而拍摄当天我见到的一切，却完全出乎我的意料。
I photographed for 26 hours in a sealed crocodile blind, 18 feet in the air.
拍摄持续了26个小时，在离地5.5米的一个鳄鱼掩体中。
What I witnessed was unimaginable. Frankly, it was Biblical.
我见到的情形简直超出想象。就像《圣经》里的场景。
We saw, for 26 hours, all these competitive species share a single resource called water.
在这为期26小时的拍摄中，我们亲眼见证了这些本该相互竞争的动物，分享了唯一的水源。
The same resource that humanity is supposed to have wars over during the next 50 years.
而人类，却有可能为了争夺水源，在未来50年内发动战争。
The animals never even grunted at each other.
而这些动物甚至都没有吼叫以驱赶对方。
They seem to understand something that we humans don't.
它们似乎懂得一些我们还不懂的道理。
That this precious resource called water is something we all have to share.
那就是水，这一珍贵的资源，不应该被独占。
When I created this picture, I realized that Day to Night is really a new way of seeing,
在创作这张图片的过程中，我意识到“昼夜之间”是一种认识世界的新方法，
compressing time, exploring the space-time continuum within a photograph.
它压缩了时间，在照片中探索时空的连续性。
As technology evolves along with photography, photographs will not only communicate a deeper meaning of time and memory,
科技在不断发展，摄影也随之进步，照片不仅仅能传达时间和回忆中更深层的意义，
but they will compose a new narrative of untold stories, creating a timeless window into our world. Thank you.
它还能书写出生活中尘封的故事，为我们的世界开启了一个永恒的窗口。谢谢大家。非常感谢！