+39 333 9746014 lucazampini9@gmail.com

“Luca, look at that bark. Do you see how beautiful it is?”

… I must have been 5 or 6 years old.

yes, I think it all started there.

“TREE-SICKNESS or…

WHY TREES?

I’ve loved trees since I was a child.

I often climbed on them playing among their fronds…

BUT WHAT IS “HUGS”?

For me it is a life project not aimed at creating exhibitions.

It’s an emotion I can’t hold back, which will continue if I get a chance to look for new trees

MONUMENTAL TREES?

Not only. Sometimes, I look for them inside lists of “monumental trees” or I let myself be guided by photos seen on the web.

But I often meet them by accident while travelling.

The latter – “the foundlings” – so I like to call them, they can be insignificant trees, because they are not old or important for bearing, history or location.

But, for me, they are unique

MONUMENTAL TREES?

Not only. Sometimes I look for them inside lists of “monumental trees” or I let myself be guided by photos seen on the web.

But I often meet them by accident while travelling.

The latter – “the foundlings” – so I like to call them, they can be  insignificant trees, because they are not old or important by bearing,
history or location.

But, for me, they are unique

A SPECIAL HUG

I can travel hundreds of kilometers to find a monumental tree, but not always do I feel the desire to embrace it.

I like trees all, but only for some, I perceive something so strong I can’t resist their call.

I feel their energy, I feel indescribable emotions.

I am kidnapped as if by magic,

it’s something truly magic

 

 

NOT ALWAYS

I’m selective, I can’t photograph trees I feel suffer:

city trees, for example, because they are not free,

or the trees inside woods, because I can’t perceive

their individuality

NOT ALWAYS

I’m selective, I can’t photograph trees I feel suffer:

city trees, for example, because they are not free,

or the trees inside woods, because I can’t perceive

their individuality

I like the final effect that comes out:

highlighting simultaneously sharp parts and others rarefied, allows me to offer the reader the opportunity to see in the work things I had not previously noticed.

I leave it free to go beyond the limits of the traditional photo, which can be technically perfect, but it is and remains only descriptive.

 

THE IDEA

The fundamental idea of my work is to translate into photography the feelings I feel.

I don’t just want to reproduce a real image.

I took a long time to figure it out,
but now I’m sure this makes sense.

THE IDEA

The fundamental idea of my work is to translate into photography the feelings I feel.

I don’t just want to reproduce a real image.

I took a long time to figure it out,
but now I’m sure this makes sense.

Today, every tree is a story

and that I created  a special bond with

—-

Luca Zampini

These are the 5 fundamental points of the mental dialogue I start with the trees, the keys to get to the embrace:

FIND OUT WHICH ONES

  • I’m here for you!

– With this statement, I want to reassure the tree and make him understand the love I feel for him is the “light” that I will photograph it with. Having “burnt lights”, as they say in photography, is considered a mistake. I don’t care. Rarely in my photos are there “full blacks”.

  • I want to get closer to you and be by your side!

I think about how often in my life I took pictures from afar, maybe sitting in the car because it was raining or cold, and I wasn’t getting close. Today, regarding those photos, I realized that staying away was nonsense, because it did not allow me to get in touch with the tree. Now, I take approaching shots and my feeling takes shape in semi-transparency around the hair.

  • I want to spend more time with you!

In contrast to the photos taken, hasty shots no longer interest me. Staying longer with the tree without photographing it has become a wonderful and unanswerable necessity to get in tune and thus establish an empathic relationship. Spending time in his company regenerates me and gives me a huge energy rush. When I walk away, I turn to look at him again and feel the satisfaction of giving him the attention he deserves.

  • I’d like to protect you!

I took a long time to figure out how to achieve this with photography. I realized  I could do this by moving around the tree and taking pictures of it only when the affective transfer had reached its peak. At that moment, in my mind, the creative process gives shape to the final image. I only make slight changes before printing.

Still, it’s as if, by doing so, I wrap him in a blanket of love and can protect him.

  • I want to hug you!

I physically embrace the tree and I fix the moment by framing the bark and fronds in the backlight. These overlapping shots will light up in the clearest parts of the final image.

I have only one self-portrait I’ve recovered from.

BACKSTAGE VIDEO: a few hours concentrated in a minute!

Me, like a comic, inside my fantasy world…

Faq

That is, some of the most frequently asked questions they have asked me since I started to explain my work… (click on the “+” on the right to read the answers)

Tell me a little bit about yourself

I was born in Occhiobello (RO) on March 21, 1961, curiously on the first day of spring, and I currently live and work in Ferrara as a freelance photographer.
Son of art, my mother Carolina Marisa Occari was a painter and engraver of stature, I have lived with the universe of art since childhood. I played for a while with brushes and canvases until in 2000 I arrived at the optical medium (analog first and digital then).

I have been a member of FIAF (Italian Federation of Photographic Associations) and FIAP (Fédération Internationale de l’Art Photographique) since 2009. Member and lecturer of Photo club Ferrara of which I have been Vice President since 2015. I successfully participated in national and international competitions obtaining numerous awards and admissions besides the AFIAP (FIAP Artiste) awards in 2014 and EFIAP (Excellence FIAP) in 2016.

Initially attracted to travel photography, I now enthusiastically dedicate myself to a more introspective and conceptual exploration in which I can express all my creativity. Especially on the subject of trees, which is my great passion.
In the last 12 years, I have exhibited in various personal and collective both in Italy and abroad, some of which are reported at the bottom of my Home Page.
Several of my photos have been published in catalogs and magazines in the sector.

I have always been passionate about volleyball, art in all its forms and traveling.

I love nature in which I like to immerse myself whenever I can.

Besides selling my works, I carry out photoshoots, mainly interior design for hotels, holiday homes, villas, B&Bs but also photos for events and portraits and I give individual photography and post-production lessons.

But is it true that you do not recognize the TREES?

Contrary to what many people think, true. I am not an arborist nor an agronomist, a botanist or simply a tree scholar. Although I recently purchased a book about trees, I often cannot recognize their species and varieties. And sometimes, this also happens with those whom I “embrace” and with whom I spend a lot of time! It’s not fundamental to me; I just love them…

Why do you give such simple titles to your photos?

I’ve never been good at giving titles to what I create or just the photos I take but with trees, I never even thought it  important. At first, I thought I would call my “hugs” tree 1, tree 2 etc. Then I switched to an olive tree, plane tree, white mulberry … with no other specification. From the first exhibition in 2017, I understood that people are pleased to know at least where the tree is and I then pointed it out in my titles: The Beech of Pani, Sophora_Savorgnano, The Apple tree of Pesariis

Is it possible to have prints in other formats as well?

After many tests, I defined 3 measurements for my reproductions: 45×60, 60×80 and 90×120 cm. This allows me to better manage the LUCA ZAMPINI archive in which I record all the sales made, because when the fifth and last copy of the edition is purchased I withdraw the work from sale. If you are interested in different sizes but still more than 45×60 cm contact me and I will try to see if I can satisfy you.

Can you tell me some stories about the trees you met?

Certainly. For everyone, my memory binds me to him. Tell me which one interests or intrigues you and I will gladly answer you as soon as I can.

Do you work on commission?

I usually do it for real estate photos of interior designers for hotels, villas, holiday homes and B&Bs but regarding trees, for now, I would tell you… it depends. Tell me about your idea and I’ll see if it’s possible!

Can you advise me on how to frame the work I'm interested in?

Very willingly. Write to me and I’ll try to give you suggestions. Free and with no commitment on your part.

Can you tell me a little more about your prints?

Gladly. I did tests for over a year before defining what today seems optimal for my work:

1.fineart prints on 100% high-quality cotton and durability paper, Canson Infinity Rag 310 gr/m2 , then treated with special protective paint.
Dimensions 45×60 and 60×80 cm

2. prints on certified canvas (size 90×120 cm).
The photo is printed through innovative technologies on artistic, valuable, and certified canvases, with special HP Latex colors ® guaranteed. This ensures bright colors and allows you to reproduce even the smallest details, giving better image quality than traditional canvases.
Solvent-free colors make photo products suitable for children and people with allergies. The ink is also odorless. Professional canvases are completed with a UV-resistant HP-certified coating that makes photos shine with bright colors.
The rods that make up the frame are made of high-quality spruce wood. The XXL frame with a 4 CM frame ensures better stability and a gallery look. The wooden structure of the frame makes it easy to hang.
The canvas is laid out on the frame and stopped with clips in the back. This means that the content of the image is pulled on the edges so the image can be hung even without a frame. Each photo is produced with care and attention to detail. If you want more details or maintenance instructions please write me.

Why for the project " ... as Trees can not fly." you only take 8 photos while for "HUGS" many more?

Because the first one is an idea that I developed to raise people’s awareness of the environmental problem, and eight large photos in a room seemed like enough to make it possible. “HUGS”/abbracci as I wrote on the page MY TREES is a life project, which goes on with me as long as I can look for new trees.

What technique do you use? How do you do that?

This is a question they ask me often, especially photographers and photo amateurs. I don’t use special effects and the answer is already on the MY TREES page. In summary I use overlaps of different shots, those that I need to produce the ideas I explain on the page: I approach you, I embrace you, I would like to protect you etc. This takes a lot of time, thinking with your heart and less about technique. When the image takes form in my mind, I start shooting. Then at home stacking the shots on each other I get that image. All the time I dedicate it to the tree, not to the PC. And if I don’t have enough time, I give up shooting, as I do if that tree doesn’t give me emotions superior to pure beauty.

How do you find your trees?

Sometimes meetings happen by accident. More often I start from research done on the web, hoping that among us the “magic” will take place.
My main sources currently are the lists of the monumental trees of Italy of Mipaaf (Ministry of Agricultural, Food and Forestry Policies), the Facebook groups Lovers of monumental trees, Big Tree Seekers, friends of trees and ascuoladaglialberi.net but I also do a lot of research on Google and Instagram. I then have many friends who, after being at my exhibition, send me photos of trees for whatsapp asking if they could “inspire me”. This positive contagion with them I find fantastic! The research, therefore, starts mainly from monumental trees although then maybe love is born for another nearby, not old or important for bearing, history or location (what I affectionately call the foundlings).

Is there a map of your meetings?

Given I have many trees both in Italy and abroad that I can’t wait to reach to discover if something snaps between us, below I tried to map those for whom I felt something shocking, from which were born then “hugs,” visible now in Gallery… GO TO THE MAP

Some dedications collected from my signatures book...

Read them if you like by clicking on the link below:

DEDICATIONS FOR “HUGS/abbracci”

DEDICATIONS FOR “… AS TREES CAN NOT FLY”

Do you only take pictures of trees?

Of course NOT. Although I am very selective, I have a large and heterogeneous photographic archive. You can take a look by clicking on the link below…

** NOT ONLY TREES/GALLERY

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