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Ondřej Kratochvíl [fs:107]
 (kdokoliv)



ja bych to po mnoha pokusech uzavrel asi jako jirka parizek. :)



sken ze stranek magazinu ceskoslovenske fotografie, cislo 7, rocnik 1967.



pulkrok vzad, zvladnout zaostreni, udrzet to ostry, vic priclonit, v komore malicko utlumit pozadi... a je to pohoda .)



pro mne tam je vic minusu... "tonalita" (nebo svetlo, zalezi...), poza kluka, kompozice... a tak vlastne jedinym plusem zustava ten surrealismus vyjadreny pozici micku .)



umim si predstavit, ze by to slo nazvetsovat tak, aby to vic pusobilo... aby ten clovek vic vystoupil... kdyz uz to ma plochy svetlo. ale tak jako tak bych z ty fotky stejne nebyl odvarenej.



a abych se vyjadril k fotce, tak myslim ze je to vcelku fajn... co se tyka svetlosti/tmavosti, tak bych na printu vic prisvitil rohy - udelal vinetaci, dole je to takovy neuzavreny ;). a bilej ramecek mi nevadi, jak je asi patrny z mejch lamanou anglictinou psanejch vyblitku.



I meant that sometimes the borders are something like identifier of particular author - like those on photographs of famous Czech photographer Bohdan Holomicek (and fstop photographer Martin Slavik), who's using old Meopta enlarger with manually modified mask of 35mm negative carrier. And maybe one of the reasons to let them on papers/scans (although we could remove them by paper holder or in postprocess) is their meaning that the photograph is enlargement of full frame, not cut-out.

I only want to say that sometimes borders are "signature" of the author - I don't know whether Milan Ulrich is enlarging all of his photographs on papers with large white borders, but he could - and I always try to focus more on content, than on borders (except the borders with stupid photoshop-made signatures, bevels or fake film borders on digital photographs).



btw hudbu hrajou skvelou. skoda ze ta holka neni clenka kapely, jak to muze vypadat (jak to vypada).


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