“生命的存在如此庄重,命运这般吊诡,源于生存、生活的深情,并没有因为时间的飞逝、空间的变迁而异化,反被永恒的影像,嵌入‘存在的神情’里。”这是陕西摄影师李泛最近在曲江西安美术馆的展览《生命之重》前言的一段文字,100余幅超过一米的影像,也是李泛多年来“西部影像四部曲”的一个汇总与精选。从大凉山彝族聚居地苏祖博坦到帕米尔高原的塔什库尔干,李泛的脚步不可谓不远。而从摄影本身的因素来考量,李泛的影像作品,画面构图讲究,通常为经典的方画幅,影像瞬间堪称完美,人物构成恰到好处,以至于摄影界一直有人质疑李泛是 “The existence of life is so dignified and the fate of such a paradox stems from the deep feeling of existence and living that it has not been alienated by the passage of time and the change of space, and has been embedded in the eternal image and the expression of presence. This is a paragraph from the foreword by Shaanxi photographer Li Pan in the exhibition ”Weight of Life“ in the Xi’an Museum of Art in Qujiang City recently. It contains more than 100 images of more than 100 meters and is also one of the ”Four Images of Western Images" Summary and selection. From the big Liangshan Yi settlements to the Zu Zu Boutan Pashuhtur Shurkurgan, Li Pan’s pace can not be far off. Considering the factors of photography itself, Li Pan’s video works and picture compositions are stressful, usually the classic square frame. The images are instantly perfect and the characters are formed just rightly. As a result, some people in the photography circle have been questioning whether Pan