viernes, 28 de mayo de 2010

lunes, 24 de mayo de 2010

Libro : Un viaje al Sur Argentino a través de la fotografía panorámica. PATAGONIA

Acerca de mi libro :

El escenario natural del sur argentino y en especial la Patagonia es ideal para ser fotografiado a través de la cámara fotográfica panorámica.

Una simple tranquera de nuestro campo , adquirirá la dimensión y nostalgia al mostrarse con su alrededor y con su entorno.
El ganado esparcido en una amplia llanura pampeana, la imagen de miles de ovejas cubriendo la ladera de un cerro, un enorme témpano producto de un desprendimiento del glaciar Upsala, un primer plano de dos peones de estancia patagónica de a caballo y con sus aperos, etc. iran cubriendo página a página , de lado a lado , las hojas del libro.

En la Patagonia el sonido del viento, el crujir de un glaciar más el estruendo de sus desprendimientos , hará que no sólo miremos la naturaleza, sino que tambíen la escuchemos.

Alberto Gandsas

Book A voyage to the Southern Argentina through the Panoramic Photography - PATAGONIA

About my book
A voyage to the Southern Argentina through the Panoramic Photography
The natural scenery of Southern Argentina, and particularly of Patagonia, is the ideal setting to be captured using panoramic photography.
Technically speaking, we can obtain wide images using either a subject in the foreground or just the scenery that unfolds before our eyes and in both cases these images reflect with absolute fidelity the surroundings to be captured.
An ordinary farm gate can acquire dimension and nostalgia when shown in its setting and ambiance. The cattle spread out in the extended Pampa plains, the image of thousands of sheep covering the side of a hill, an enormous iceberg that broke off from the Upsala glacier, two Patagonian farm laborers in the foreground sitting astride their fully clad mounts, and so on, fill the pages of my book from face to face.
One of the most interesting and impressing panoramic photographs in my book is the one of a forest by Lake Burmeister, in the F. P. Moreno National Park. In that area, wind blows nonstop all day long, all year round. At times, the wind blowing is so strong that it makes trees and their foliage vibrate, in constant movement.
To take a picture of the scene, I used a bag full of stones to hold the tripod and prevent it from moving. With Lucy, my wife, we held the camera and the tripod to keep them still and secure. I was eager to transmit such movements of nature in a panoramic photograph.

In Patagonia, the sound of the wind, the creaking of a glacier and the clatter of its icequakes will make us not only look at nature, but also hear it.
The prize awarded at the Contemporary Art Biennial Exhibition in Florence, Italy, the exhibitions in USA, México and Spain and in Buenos Aires, have all contributed to strengthen Javier Goliszewski’s words for me to make the book. After lengthy and hard selection work, 82 panoramic photographs were chosen to be published and constitute a book which, because of its characteristics, consists solely of panoramic photographs and negatives 6,9cm long: a true voyage through Southern Argentina and particularly through Patagonia.
An index indicates the title and location of each photograph. And, at the end of the book, a travel album shows that in addition to the magnificent sceneries of nature, we may enjoy the warmth, candor and kindness of the people of Patagonia who at all times make us feel at home.
Alberto Gandsas

On Wednesday April 23rd 2003, in the Victoria Ocampo Room, during the 29th International Book Fair held in Buenos Aires, Argentina, the presentation of Alberto Gandsas’s book took place with the introduction and comments of journalist Horacio de Dios:
“A voyage to the Southern Argentina through the Panoramic Photography”
Following a presentation by Jaime Smart, from Editorioal GAC, Grupo Abierto Comunicaciones, Horacio de Dios said a few words:
Brief summary of the introduction delivered by Horacio de Dios:

«To go through this fair is to turn true the dream of a kid who is fond of books.
I am talking in first person because ever since a child I have never found a better source for learning, in time and space, than a hard copy edition. Citing Borges, once again, he imagined Paradise in the form of a library. Because times change (and books too) the essential is visible in the light of time. An example of the present situation is the remarkable amount of publications on Patagonia. I do not recall a Fair in which so many works, bearing such quality, have been presented on this region. We are recovering texts which were only available in English or French and are now translated into Spanish. And classics, which had been sold out are now being printed again after many years of unavailability. Also, there are plenty of very appealing new books, with a special accent on those specialized in photographs, Patagonia being the photogenic theme. These books are ideal for traveling by means of our imagination while our eyes run through full color pages. They look luxurious due to their being printed on glossy illustration paper and the care put into their publication, yet their price is most reasonable.

Patagonia is more than what our eyes can reach; therefore, we must turn around to take it all in. With our cameras we only capture a fragment of reality which we later complete with our memories. We need to add comments on every image, turning our pictures into a familiar audiovisual scene. In this work by Alberto Gandsas, "A photographic trip to the Southern Argentina through the Panoramic Photography”, published by GAC, Grupo Abierto de Comunicaciones, the word “panoramic” did not call my attention at first because it is usually used when referring to landscape. I was not aware of the fact that panoramic photography is a discipline which implies the use of a special camera that takes in more than the human eye. Contrary to the norm, when the viewfinder of the camera takes in less than our peripherical vision and we try to focus on what we are most interested in.

El nuevo paradigma...

El nuevo paradigma hace que el fotógrafo tenga que manipulear dia tras dia las nuevas herramientas que la técnica pone a su alcance.
La complejidad de la fotografía digital lleva a veces a exagerar el tiempo de la toma fotográfica lo que en algunos casos hasta puede ser similar al tiempo de una filmación.
La habilidad desarrollada por el fotógrafo en la toma digital no lo debe convertir en un esclavo de esa técnica- Felizmente siempre la fotografía va a depender como base, en la relación fotógrafo-camara. Reemplazar el disparador de la cámara por el mouse no dbe confundir .
Para el verdadero fotógrafo la cámara sigue siendo el principio de todo.

Book PATAGONIA "the lingering eye"

About the book “ PATAGONIA ” the lingering eye

Through these book, the lingering eye has echoed with the Patagonian landscape. This mystic region, which cradles all types of adventures, stories, traditions and cultures within its vast territory, acts as a magnet first attracting and then trapping the attentive observer who admires these natural sceneries; and we are bound to see and look at them with a lingering eye, there being nothing or nobody to harass or disturb us.

We are in need of time, of taking a deep and long breath to become harmonized, through it, with nature itself.

With the lingering eye we want to take in everything and dominate space.
However, nature will dominate and impose its rhythm on us, so that the lingering eye can gaze at each and every detail, at each and every region, glacier, lake, mountain, valley or river. Even the precarious construction of a farm will become harmonized, as if by magic, with the landscape itself, which will lead us towards a nostalgia that has extremely sensitized us through … the lingering eye.

Alberto Gandsas


Patagonia, the lingering eye is the sequel of my first book “A voyage to Southern Argentina through panoramic photography”.

As we enter Patagonia we start admiring natural, immense, unending sceneries, we acquire a lingering contemplative attitude, of respect towards Creation. Not everyone does react with the same sensitivity, but I daresay that most people do because I have seen and experienced it.

As a complement to the panoramic photos, in this book I shall integrate some others, bearing a different format, which were taken during my first trips to Patagonia.

Analogical and digital, all the photos share the same context: they reflect serenity. They are as serene as I experienced them at the time of taking each and every photo, even with the aggressiveness, barrenness, and desolation of the landscape or place that would stretch before my eyes.

We shall not see a huge piece of ice falling loudly from a glacier. We shall see a long, mellowing glacier inviting us to observation and meditation.

We shall travel from one place to another at the “turn-the-page” speed, towards an area or region that can be nearer or further away.

As we feel stunned on seeing a certain lake, we will be before the wide scenery of the Patagonian plateau, the quiet corner of a farm, a mountain chain or the colors of the fall. We shall observe part of its flora and part of its fauna, and we will feel powerless before the presence of the landscape itself, languid and silent at times.

The territory of the Patagonia has been considered as a desolate region throughout time by historians, seamen that navigated its coasts or by the travelers that visited it.

The vastness of Patagonia makes it impossible to reflect it photographically in only one book. There exists no one and only photograph that can show by itself what Patagonia is like. There will always be missing a corner, a mountain, a river, a valley, a narrow path, a glacier, a road, a farm or an image to photographically complete what you wish to show.

In “Patagonia, the lingering eye”, color will provide the necessary realism to let us see nature as it is, full of nuances.

Alberto Gandsas

lunes, 10 de mayo de 2010

La Fotografía en el Contexto de Arte Contemporáneo
y la Fotografía Panorámica

La Fotografía puede ser considerada como la quintaesencia del arte moderno no sólo por sus 160 años de vida, los que corresponden exactamente al modernismo como movimiento cultural.

La cámara fotográfica al igual que otro tipo de expresión artística también nos introduce en el camino de miradas, observación y comunicación.

El uso de la cámara fotográfica panorámica se centró desde sus principios en fotografiar grandes paisajes de la naturaleza o numeroso grupo de personas.

Al hablar de Fotografía Panorámica en el Contexto del Arte Contemporáneo se tratará de introducir al objeto o a los motivos principales de la fotografía no en forma aislada, sino dentro de todo su entorno, para ubicar al observador en el espacio del lugar.

El formato panorámico, es en esencia horizontal y es precisamente esa horizontalidad, producto del gran ángulo de la cámara panorámica el que obliga, como una constante, a controlar e integrar el entorno del objeto principal a fotografiar, ya se ubique éste en el centro o en uno de los laterales de la fotografía.
Tiempo, luz, y espacio son necesarios al efectuar la toma fotográfica, consiguiendo una imagen que dará oportunidad al observador a que interprete la visión de un entorno en una convergencia diferente.

Al fotografiar un paisaje de la naturaleza, el mismo ya fue creado.
Dependerá de la visión del fotógrafo mostrarlo desde un ángulo absolutamente personal.

En el Contexto del Arte Contemporáneo, el fotógrafo asumirá una nueva creación ya que tendrá que componer y crear una imagen, partiendo de los elementos que se le presenten a su vista haciendo uso del gran espacio horizontal que le brinda el formato panorámico.

Al igual que el pintor o el escultor, va a crear una imagen y se convertirá en creador.

En la fotografía panorámica aplicada al Contexto del Arte Contemporáneo se buscará el equilibrio del espacio vacío al igual que en la escultura, la que también busca su equilibrio en todos los espacios de la obra.

Es así como un simple banco de plaza alcanza de pronto una perspectiva distinta, al ubicar ese mismo banco dentro de un entorno que la cámara fotográfica de formato medio o chico mediante una lente normal (45/50mm) no puede lograr.

Movimiento, reflexión, geometría, muestran como la cámara panorámica y su amplio ángulo se inserta perfectamente en el Contexto del Arte Contemporáneo.

Alberto Gandsas