Tag: photography

Becoming Animal – Jasper Lepani (s3769565)

David Abram’s evocative story telling in the chapter ‘Depth’ from his Becoming Animal book, is an imaginative and surreal view into the serene and wondrous mind set of a keen hiker, lost in the wilderness. But more then that, Abram’s use of lingual imagination is striking and visualizing. I couldn’t help but relive old memories of making houses in the bush as a kid, using what ever was at our disposal and setting my soul to the beat of mother nature.

Abram describes a shared dreamlike experience of wonder lust in nature, using it to vividly describe depth in not just its physical properties, but also the feelings it creates. This is something I truly respect about this writer and I found I agreed and connected with in this writing.

– Jasper Lepani

Individual Project Plan & Preliminary Works – Jasper Lepani (s3769565)

Concept

The mind and consciousness; two things directly connected to reality and unreality.

These elements of perception make up our own individual life experiences and thus intrigue me in my own way, to grasp an understanding for myself.

I have gravitated towards photography and videography quite naturally, after years of drawing and being lost in my own little world. The abundance of art and scientific development around photo/ videography is fascinating to me and at the forefront of our present everyday, social and physical environment. This is why I want to focus on the bridge photography gaps between the realities of dream like imagination, its abstract beauties and the stark absurd reality of everyday existence.

Inspiration

 

Image result for reuben wu\\ Reuban Wu – Lux Noctis

Image result for alessio albi smoke\\ Alessio Albi – Unknown

Image result for alessio albi car\\ Alessio Albi – Unknown

 

Notes:

The colour grading and consistent beauty which these 2 artists create in their work, fascinates me and inspires me to create elements of this level of detail in my project images for Contemporary Landscape, such as the lighting quality and framing of Albi and the surreal, alien beauty and imagination of Wu.

Process

I plan to capture moments with friends and family, that have significance to me in the moment of capture, or upon review of the image. Moments of future nostalgia and wonder or personal exploration.

Landscapes with candid, mysterious beauty, no matter the subject is the current goal of the project.

Preliminary Work

Schedule

2-9th Sept: Shooting in Yarra Valley

13th Sept: Editing

20th Sept: Fieldtrip start

23rd Sept: Field trip end

Post 23rd Sept: Processing and editing

 

– J. Lepani

Reading Response: The Complete Essays – Ritt Choi s3672580

‘For my purposes, photography is extraordinarily important, because of its specific characteristics. In photography, the deletion of the space that surrounds the framed portion is as important for me as what is represented: it is thanks to this deletion that the image takes on meaning, becoming measurable. The image continues, of course, in the visible realm of the deleted space, inviting us to see the rest of reality that is not represented.
This double aspect of representing and deleting not only evokes the absence of limits, excluding every idea of completeness of finitude, but shows us something that cannot be delimited: reality itself.’
-Kodachrome -Introduction 1978

Through the introduction of his first book Kodachrome, Luigi Ghirri is leading us into his spiritual world as a photographer. Fascinated by his unique comprehension of photography, I have read this chapter several times just to get a full understanding of what he expressed between the lines.  It feels like he was showing me a map that would help me get to the destination, but something on it is still missing. I suppose the missing part of the map would be the rethinking towards photography by myself. With it, I may finally procure the complete understanding of the chapter and refresh my comprehension of photography.

Being a photographer, taking photos is like picking out something interesting or sparkling from my entire vision of the outside world. Not all, but most of the time I will put my attention to the limited space of the viewfinder attached to my camera, since I believed if something worth being noticed by the viewers, it should be represented within the frame. So even when I was in the role as a viewer, my interpretation of images would merely happen inside the border of the frame, or behind the frame. But Ghirri offers me a new way to look at images, a way that I had never thought of before – to see the rest of reality through deleted space, as it weighs as much as what is represented in the frame.

Photographs, as Ghirris words, are inviting us to explore the reality, with both the visible part and the deleted space. And his work in this photo book also visualized the view. By framing the photographs with a unique gaze, he successfully draws my attention to the place that I had never been aware of – the deleted space that surrounds the framed portion. Through the way of uniting the represented part and deleted part of images as a whole, my vision now gets freed from the limited space of the frame. The altering of my field of vision refreshes my comprehension of photography, and it allows me to re-recognize everything in front of me, in the role as a photographer or a viewer.

Reading Response: Mother Nature/ Australian Landscape/ The Beholding Eye – Jasper Lepani (s3769565)

Something I found interesting…

about Deborah Bright’s ‘Of Mother Nature and Marlboro Men’ & Rebecca McCauley’s ‘Australian Landscape Photography: The Colonial Project, The Panorama, Its Undoing’, was the way they spoke of our human connection to nature and how the ‘Landscape’ is a broad, yet specific attempt for people to communicate their perspective of the world around them and what it means to them.

Landscapes are a record of both the mysterious mother to our civilization, and a structure of resources from which we use to develop.

Like ‘Of Mother Nature and Marlboro Men’ & ‘The Beholding Eye’ discuss, nature is considered the pure and the traditional; but as the universe molds us on a personal and social level, we shape the universe, & thus also nature in the traditional sense; creating a crossover of humankind and its environment in landscapes as art and as reality. This is why I believe the 2 are not opposing sides, but one in the same; A complex and fractal like combination of systems and energy moving in a certain direction to the various beats of time. Humankind and nature are one in the same, just like the bacteria inside our own bodies. Landscapes are deeply connected and rooted in our history and our being; they are our homes, our scene and our ambitions. From ancient stars, to crowded city streets, the landscape is overwhelming and enduring, yet personal and evocative.

McCauley, Bright and D.W. Meinig’s readings are a good introduction to what the landscape is and how the term came to be, & it was interesting to see respected article’s from different perspectives and times, discuss and structure the topics and ideas I have had around art, photography and landscapes.

 

– J. Lepani

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