Ukazka z knihy Citeni nahled do s1-30_12

the opportunity to feel their tones, let them fill our whole being and become
them. We have our vocal cords to create the audible sounds we can hear, and
at the same time there are those inner sounds which aren’t being created by
the movement of prana, nor within our spirit, nor by our vocal cords but are
being heard in our inner space of awareness. There they create an echo in
connection with our being and enable the awakening of the emotional tones,
which enable us to re-complete our being.
DO YOU PREFER BLACK AND WHITE OR COLOUR PHOTOGRAPHY?
I like both. It’s a photographic division. Again, it depends on what I feel.
Black and white photography emphasizes shapes and doesn’t lead the
viewer to superficial perception. There’s a certain magic in silver tones. Often
it’s possible to see more colours there than in colour photography. And by
using colouring and toning techniques it’s possible to completely erase the
differences between them. The colour shines itself, naturally, especially if you
photograph colour lights which are exceptionally clear and bright. It is sometimes
possible, with the use of austere colourfulness, to accentuate the purpose
and intent. To the point. There was a time when I did classic photography
on slides, I used cibachromes with metallic surface. These days I do a lot of
prints on paper as well as on foil. Even photo-graphics can arise sometimes.
WHICH TECHNOLOGY DO YOU USE?
I use classic cameras such as Druex, Zorkij, Exakta, Nikon, Pentacon six,
Asahi Pentax, Mamiya, Hasselblad, Bessa, Voigtlander, Magnola, Sinar, Calumet
a digital Nikon and Pentax. I combine classic and digital developing
techniques as necessary. I use Catechol developer - this one I like the most
as it is able to capture the widest array of tones, then also Rodinal or Microphen.
I make classic black and white photography on baryte paper in cold tones,
emphasized by digital print on foils to make them as light as possible and
run breath-like, which harmonizes with the colour cibachromes and prints on
paper with their earthiness weight of worm steadiness of enrootment. What I
take for important is the result regardless of the means it came out by.
Na zahradě, 1961 /
In the garden, 1961
ARE YOU TRYING TO COME UP WITH “SOMETHING NEW”?
I go through my senses, what I feel as new at the moment – the awareness of
actuality, into what is always the same – the awareness of potentially possible
and by this update our soul is becoming mightily brilliant, deep and large
as a field of awareness. That process is the very creating. Thus each soul is
unique. It is dynamic. And with a good amount of courage and knowledge of
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