+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.

“ALBERITE” (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 that I can’t hold back, that will continue as long as 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 seemingly insignificant trees, because they are not particularly 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 seemingly insignificant trees, because they are not particularly 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 I feel then the desire to embrace it.

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

I feel their energy, I feel indescribable emotions.

I am kidnapped as if by magic,

it’s something magic

 

 

NOT ALWAYS

I’m selective, I can’t photograph trees that 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 that 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 at the same time sharp parts and others totally rarefied, allows me to offer the reader the opportunity to see in the work things that I had not 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.

It took me 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.

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

Today I can say that every tree of mine is a story

and that I created with him a special bond

—-

Luca Zampini

In summary, these are the 5 fundamental points of the mental dialogue that 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 that the love I feel for him is the “light” which I will photograph it with. Having “burnt lights”, as they say in photography, is considered a mistake. I don’t care. Almost never in my photos there are “full blacks”.

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

I think about how many times 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 a 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 previously, 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 charge. 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!

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

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

  • I want to hug you!

I physically embrace the tree and, at the same time, 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 only have one self-portrait I’ve recovered from.

BACKSTAGE VIDEO: a few hours concentrated in a minute or so!

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 the first day of spring and world day for forests; I currently live and work in Ferrara as a visual artist and 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 fotoclub Ferrara of which I have been Vice President since 2015. I successfully participated in national and international competitions obtaining numerous awards and admissions in addition to the AFIAP (FIAP Artiste) awards in 2014 and EFIAP (Excellence FIAP) in 2016.

Initially attracted by travel photography, I now enthusiastically dedicate to a more introspective and conceptual exploration in which I can express all my creativity. Especially on the subject of trees, 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 the “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 travels.

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

In addition to selling my works, I carry out photo shoots, mainly interior design for hotels, holiday homes, villas, B&Bs.

But is it true that you do not recognize them?

Contrary to what many people think, absolutely true. I am not an arborector nor an agronomist, a botanist or simply a tree scholar. Although I recently purchased a book about trees, they are often unable to 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 in the case of trees I never even thought it really important. At first I thought I would call my “hugs” tree 1, tree 2 etc. Then I switched to olive tree, plane tree, white mulberry … without any other specification. From the first exhibition in2017 I understood that people are pleased to know at least where the tree is and I then started pointing it out in my titles: The Beech of Pani, Sophora_Savorgnano, The Apple tree of Pesariis … For some time now I started to engage friends from Facebook and Instagram to ask them for help. It’s amazing what people can see in my photos! I also realized that it is a further way to pay attention to my tree: the time I dedicate to him to look for a meaningful title and maybe a poem, aphorism or my phrase for him adds up to what I gave him when we met.

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

After many tests, I defined 3 measures for my reproductions: 45×60, 60×80 and 100×133 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 understand if I can satisfy you.

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

Certainly. For everyone I have a particular memory that binds me to him. Tell me which one interests or intrigues you and I will gladly answer you as soon as possible.

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… Well,depends! Tell me about your idea and see if that’s possible!

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

Very willingly. Write to me and I’il try to give you some suggestions. Free of charge and without any commitment on your part.

Do you have pictures of color trees?

Certainly. I have several photos, both in color and in B/N, of trees in various landscape contexts. Some of these I posted on Facebook and Instagram, but write to me if you want to see more!
I also have two color projects, created to express through trees my concern for environmental problems:
SUPERSTITI (born thinking of an audiovisual, which I then created) go to the project
… …AS TREES CAN’T FLY. go to the project

Because for project " ... why can't trees fly." did you only take 8 photos and "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. “HUGS”/abbracci as I wrote on the page PROJECT-“HUGS” is instead a life project, which goes on with me as long as I have the opportunity to look for new trees.

GO TO THE PROJECT “… as trees can’t fly”

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% cotton paper of high quality and durability Hahnemühle German Etching ® 310 gr/m2 (ISO 9706 compliance / museum quality for maximum resistance to aging)
Dimensions 45×60, 60×80 and 100×133 cm
(the first two formats can be ordered either as a print to be framed then at home, or on Dibond support. The size 100×133 cm I prefer to print it and deliver it to customers on Dibond, ready to hang since the operation must be performed in a workmanlike manner.

2. prints on Dibond aluminum (thickness 3 mm).
The photo is printed on the same paper above and then mounted on Dibond (sandwich in which 2 sheets of pre-painted aluminum alloy enclose a polyethylene core), a perfectly planar, stable and resistant support, easy to hang, proposed with 2 cm aluminum spacers applied retractable to obtain a “floating” effect on the wall.
Each photo is produced with care and attention to detail. If you want more details or maintenance instructions write me as well.

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

This is a question that they ask me often, especially photographers and photo amateurs. I don’t actually use special effects and the answer is already on the “FIND OUT WHICH” page. In summary I could say that I use overlaps of different shots, that is, those that I need to produce the ideas that 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 take form in my mind I start shooting. Then at home stacking the shots on each other I get more or less 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 kind of positive contagion with them I find definitely fantastic! The research therefore starts mainly from monumental trees although then maybe love is born for another nearby, not particularly old or important for bearing, history or location (what I affectionately call the foundlings).

Some inscriptions collected from my signature notebooks...

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

INSCRIPTIONS “HUGS abbracci”
DEDICATE “BECAUSE TREES CAN’T FLY”

Is there a map of your meetings?

Given that I have many trees both in Italy and abroad that I can’t wait to reach to find out 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

Do you only take pictures of trees?

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

** NOT ONLY TREES/GALLERY

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