Photographer's curriculum vitae
Birth of the photographer: 1957 – Christmas, Flexaret 4a, magnifier Magnifax. First steps: family, friends and mostly photos of tennis. Meeting the professional: 1962 – photos of children. Meeting the authority: 1960 – uncle Mila – first real photos from Yugoslavia. Growing up:1963 – in a dark room on high school with the premier of the class – we really made photos, he had an interest with me, he failed. Work process: 1964 – still single: Mr. Hrdina made my photos, he had an exhibition and all my colleagues have seen it, I didn't go there, maybe I was shy, although there was only a shoulder from my body to see, where have all the flowers gone... Marriage and birth of son: 1968 – hundreds of photos of "darling" with Flexaret and then with Practica. Normalization: 1970 – 1980: No creative inspirations, buying camera Super eight. Eighties: with bags full of food hanging on me I arrived to "Liduška" and became familiar with prof. Šmok from FAMU (faculty of musical arts), an unforgettable experience. The youth is all around me and I would love to be free, free as a bird... but I am not, I have to go wash, cook and clean. I didn't feel so much unfairness then as I do feel now. I keep in touch with photography, I am buying photo magazines, they work hard even when the propaganda puts them down. 17. 11. 1989 – I make revolution with my Practica... Nineties: Fight for life, I have no time nor mood for photography... one death after another... where is everybody? The diseases don't go around me too. Third millennium: Enough, I don't want to wait and look what is coming, I take my camera and start walking Prague alone...this time it is Pentax MZ5, without tripod, with most films with expired warranty... I run into it with all my forces, I'm making many school-like mistakes, I'm getting familiar with people in photolabs, everybody encourages me, I'm boring everybody, first success: CD-ROM of Prague for PIS (Prague Information Services) with expenses paid off. And so it is being one year already which I'm living with photography every day, I'm tired from wandering up and down all the towers and now I know that it is hard to make a good photography, that the technique has its place but it is not the main thing, that the light in Prague is seldom ideal, that it is getting harder, the demands are rising, and the most important thing is to know how to look through the range-finder and that step-and-step is my dance. I always say that for good photography is in small steps, that tripod cannot walk and that I can't make two same photographs – because of different light and mood – and that it is not possible to make photos one by one like in manufacture and that I think this is good. Otherwise would all the people see the same and it would be boring to look. And the last thing: Thanks to everyone who held me, praised me, and persuaded me into publishing my photographs. I know how should good photography look like and I hope that I got closer to it and that I didn't discredited my ideals like mister Sudek, Plicka, Karasek and Thoma.