{"id":349,"date":"2020-05-11T09:54:22","date_gmt":"2020-05-11T07:54:22","guid":{"rendered":"https:\/\/michalhejna.cz\/blog\/?page_id=349"},"modified":"2020-05-24T19:05:14","modified_gmt":"2020-05-24T17:05:14","slug":"artist-statement","status":"publish","type":"page","link":"https:\/\/michalhejna.cz\/blog\/artist-statement\/","title":{"rendered":"ARTIST STATEMENT"},"content":{"rendered":"\n

More: Short Biography<\/a>, Publishing<\/a>, Books<\/a><\/p>\n\n\n\n

Although photography is inherently dependent on reality happening in front of the camera, the only depiction of reality does not satisfy me. I try to show the observers something that they cannot perceive with their own eyes.<\/p>\n\n\n\n

My goal is to produce Fine Art Photography. Although a technical quality of the images has to meet the highest standard, for me it is even more important to imprint myself into the pictures. To let the observer look a little bit into my soul. To let my perception of the surrounding world to impress him, but not offer the definitive interpretation. I believe everyone can discover something unspoiled and unique through my photographs.<\/p>\n\n\n\n

I’m proud to be self-educated. However, I do not feel limited by that, but on the contrary. This allowed me to start my own way from the beginning. The right composition I learned by knowing general composition rules and mathematical formulas. At the same time, I was studying classical and modern paintings. The colours and light in the landscape I discovered in the paintings of the Impressionists, especially Claude Monet. The beauty of the Czech landscape I found in the work of the Czech painter Adolf Kos\u00e1rek.<\/p>\n\n\n\n

I appreciate the works of Sally Mann, Alex Webb or Martin Paar. On the Czech scene, I was influenced by the works of photographers of Czech modernism (1918-1945), finding a bird’s or frog’s perspective, diagonal compositions, bold cut-outs, discovering the beauty of seemingly unaesthetic themes. Names like Jaroslav R\u00f6ssler, Jarom\u00edr Funke or Josef Sudek.<\/p>\n\n\n\n

For abstraction, I found inspiration later in the paintings of the Czech painters V\u00e1clav Bo\u0161t\u00edk and Josef \u0160\u00edma, one of the prominent personalities of European modern painting. \u0160\u00edma was close to Surrealism but focused more on the symbolic dimension of the image. In the late period, he came to light abstract paintings. Paintings such as Landscape with Stalks, Ice Reflection or Blurred Fields have become essential for my further work.<\/p>\n\n\n\n

I have been expressing myself using cycles since 2010. Solitary photo creates an impression of chance. The observer is much more impressed by a series of pictures dedicated to one topic. It develops the original idea in other variations. At the same time, I am often involved in longer-lasting topics, which is my preferred way of expressing and communicating with the audience.<\/p>\n\n\n\n

When photo shooting, I usually start with previsualization. I imagine the finished photograph in my mind. I look at the scene in front of the camera lens. I imagine, what I will put in the picture and what to leave out. Whether it will be better in colours or only in shades of black and white. What will be the main object? What will be the role of light and shadow? It is necessary to influence the result during shooting. By choosing the position of the camera, I determine the optimal composition. By choosing the technique and right settings of all shooting parameters I am slowly approaching the goal. When I am finally convinced that I have done my best, I press the shutter button.<\/p>\n\n\n\n

However, the image captured by the camera is not the final product. Post-processing is another important step in the creation of an image when the reality recorded by the machine turns into an author’s work. To fulfil my expectations, I edit my photographs later after the image was captured by the camera. Therefore I am able to put the emotional content that I experienced while being at the location where I took the photograph to my images.<\/p>\n\n\n\n

To this end, I do to the image everything that I deem necessary. On the level of image adjustments, I work with brightness, contrast and also with individual colours, according to my memories of the original scene. In some projects, I even change reality by cloning unsuitable parts of the image.<\/p>\n\n\n\n

My work does not end as a printout from a printer. I consider the only adjusted photos to be the final product. I mount photographs for easy portfolio viewing. For interior decoration, I am framing mounted pictures or present them as a photo-painting. I use archive materials of the highest quality. I print exclusively on Hahnem\u00fchle<\/a> papers, most often on Photo Rag Ultra Smooth 305<\/a>. For the final adjustment, I use Nielsen archive mounting plates and Nielsen frames.<\/p>\n\n\n\n

I am a member of the photographic association Black Sunflower<\/a>.<\/p>\n\n\n\n

\n\n\n\n


A\u010dkoli je fotografie ze sv\u00e9 podstaty z\u00e1visl\u00e1 na sn\u00edman\u00e9 realit\u011b, pouh\u00e9 zobrazov\u00e1n\u00ed reality mi nesta\u010d\u00ed. Dlouhodob\u011b se sna\u017e\u00edm pomoc\u00ed obraz\u016f uk\u00e1zat div\u00e1k\u016fm n\u011bco, co nemohou spat\u0159it na vlastn\u00ed o\u010di.<\/p>\n\n\n\n

M\u00fdm c\u00edlem je vytv\u00e1\u0159et fotografie, spl\u0148uj\u00edc\u00ed krit\u00e9ria Fine Art Photography. P\u0159esto\u017ee v\u00fdb\u011br techniky a technick\u00e1 kvalita sn\u00edmk\u016f mus\u00ed b\u00fdt na \u0161pi\u010dkov\u00e9 \u00farovni, pro m\u011b je mo\u017en\u00e1 je\u0161t\u011b d\u016fle\u017eit\u011bj\u0161\u00ed otisknout do obraz\u016f kousek sebe. Nechat div\u00e1ka na chv\u00edli nahl\u00e9dnout do m\u00e9 du\u0161e. Nechat p\u016fsobit moje vn\u00edm\u00e1n\u00ed sv\u011bta, ale z\u00e1rove\u0148 nenab\u00edzet kone\u010dnou interpretaci obrazov\u00e9ho sd\u011blen\u00ed. V\u011b\u0159\u00edm, \u017ee si ka\u017ed\u00fd v m\u00fdch obrazech m\u016f\u017ee naj\u00edt n\u011bco jedine\u010dn\u00e9ho.<\/p>\n\n\n\n

U\u010dil jsem se s\u00e1m. V oboru fotografie nem\u00e1m \u017e\u00e1dn\u00e9 ofici\u00e1ln\u00ed vzd\u011bl\u00e1n\u00ed. Nec\u00edt\u00edm se t\u00edm v\u0161ak omezen, pr\u00e1v\u011b naopak. Umo\u017enilo mi to vydat se od za\u010d\u00e1tku svou vlastn\u00ed cestou. Kompozici jsem se nau\u010dil znalost\u00ed z\u00e1kladn\u00edch kompozi\u010dn\u00edch pravidel a matematick\u00fdch vzorc\u016f, ale tak\u00e9 studiem klasick\u00fdch i modern\u00edch mal\u00ed\u0159sk\u00fdch d\u011bl. Barvy a sv\u011btlo v krajin\u011b jsem objevil v obrazech impresionist\u016f, zejm\u00e9na Claude Moneta, kr\u00e1sa \u010desk\u00e9 krajiny m\u011b nadchla p\u0159edev\u0161\u00edm v tvorb\u011b zakladatele \u010desk\u00e9 novodob\u00e9 krajinomalby, mal\u00ed\u0159e Adolfa Kos\u00e1rka.<\/p>\n\n\n\n

Ze sv\u011btov\u00fdch fotograf\u016f oce\u0148uji nap\u0159\u00edklad pr\u00e1ce Sally Mann, Alexe Webba nebo Martina Paara. Na \u010desk\u00e9 sc\u00e9n\u011b m\u011b ovlivnila d\u00edla fotograf\u016f \u010desk\u00e9ho modernismu (1918-1945), nal\u00e9zaj\u00edc\u00ed pohled z pta\u010d\u00ed nebo \u017eab\u00ed perspektivy, diagon\u00e1ln\u00ed kompozice, odv\u00e1\u017en\u00e9 v\u00fd\u0159ezy, objevov\u00e1n\u00ed kr\u00e1sy zd\u00e1nliv\u011b neestetick\u00fdch motiv\u016f. Jm\u00e9na jako Jaroslav R\u00f6ssler, Jarom\u00edr Funke, Josef Sudek.<\/p>\n\n\n\n

Inspiraci k abstrakci jsem pozd\u011bji na\u0161el v\u00a0malb\u00e1ch \u010desk\u00fdch mal\u00ed\u0159\u016f V\u00e1clava Bo\u0161t\u00edka a Josefa \u0160\u00edmy, v\u00fdznamn\u00e9 osobnosti evropsk\u00e9ho modern\u00edho mal\u00ed\u0159stv\u00ed. \u0160\u00edma m\u011bl bl\u00edzko k\u00a0surrealismu, zam\u011b\u0159oval se v\u0161ak v\u00edce na\u00a0symbolick\u00fd rozm\u011br obrazu, v\u00a0pozdn\u00edm obdob\u00ed dosp\u011bl a\u017e ke\u00a0sv\u011bteln\u00fdm abstraktn\u00edm malb\u00e1m. Obrazy jako Krajina se st\u00e9bly, Ledov\u00fd odlesk nebo Rozost\u0159en\u00e1 pole, se pro mou dal\u0161\u00ed tvorbu staly z\u00e1sadn\u00ed.<\/p>\n\n\n\n

Od roku 2010 se vyjad\u0159uji pomoc\u00ed cykl\u016f. Solit\u00e9rn\u00ed fotografie vytv\u00e1\u0159\u00ed dojem n\u00e1hody. Mnohem siln\u011bji na div\u00e1ka p\u016fsob\u00ed s\u00e9rie obraz\u016f v\u011bnovan\u00e1 jedin\u00e9mu t\u00e9matu. Rozv\u00edj\u00ed p\u016fvodn\u00ed my\u0161lenku v dal\u0161\u00edch variac\u00edch. Z\u00e1rove\u0148 jako autor pracuji s n\u00e1m\u011btem v del\u0161\u00edm \u010dasov\u00e9m obdob\u00ed, co\u017e je pro m\u011b preferovan\u00fd zp\u016fsob vyjad\u0159ov\u00e1n\u00ed a n\u00e1sledn\u00e9 komunikace s obecenstvem.<\/p>\n\n\n\n

P\u0159i fotografov\u00e1n\u00ed velmi \u010dasto za\u010d\u00edn\u00e1m previzualizac\u00ed. P\u0159edstavuji si v duchu hotovou fotografii. Hodnot\u00edm sc\u00e9nu p\u0159ed objektivem fotoapar\u00e1tu. Co do obrazu vlo\u017e\u00edm, co vypust\u00edm, jestli bude l\u00e9pe nechat vyniknout barvy nebo nechat vyzn\u00edt pouze odst\u00edny \u010dern\u00e9 a b\u00edl\u00e9. Co bude hlavn\u00ed motiv, jak\u00e1 bude role sv\u011btla a st\u00ednu, atd. Ji\u017e p\u0159i sn\u00edm\u00e1n\u00ed je nutn\u00e9 z\u00e1sadn\u00edm zp\u016fsobem ovlivnit v\u00fdsledek. Volbou polohy fotoapar\u00e1tu v prostoru ur\u010duji optim\u00e1ln\u00ed kompozici. V\u00fdb\u011brem techniky a spr\u00e1vn\u00fdm nastaven\u00edm v\u0161ech d\u016fle\u017eit\u00fdch parametr\u016f sn\u00edm\u00e1n\u00ed se pomalu bl\u00ed\u017e\u00edm k c\u00edli. Kdy\u017e jsem p\u0159esv\u011bd\u010den o tom, \u017ee jsem ud\u011blal pro fotografii maximum, stisknu spou\u0161\u0165.<\/p>\n\n\n\n

Av\u0161ak sn\u00edmek zachycen\u00fd kamerou nen\u00ed kone\u010dn\u00fd produkt. Post-processing je dal\u0161\u00ed d\u016fle\u017eit\u00e1 \u010d\u00e1st procesu vzniku obrazu, kdy se strojem zaznamenan\u00e1 realita m\u011bn\u00ed v autorsk\u00e9 d\u00edlo. Abych naplnil sv\u00e9 p\u0159edstavy a vize, na fotografi\u00edch d\u00e1le pracuji pot\u00e9, co byl sn\u00edmek zaznamen\u00e1n p\u0159\u00edstrojem. Sv\u00e9 obrazy tak napl\u0148uji emocion\u00e1ln\u00edm obsahem, kter\u00fd jsem za\u017eil na m\u00edst\u011b a v \u010dase, kdy jsem po\u0159\u00eddil ka\u017edou jednotlivou fotografii.<\/p>\n\n\n\n

Pro tyto \u00fa\u010dely d\u011bl\u00e1m pro obr\u00e1zek v\u0161e, co pova\u017euji za nezbytn\u00e9. Na \u00farovni \u00faprav obrazu pracuji s celkov\u00fdm i lok\u00e1ln\u00edm jasem a kontrastem. A tak\u00e9 s jednotliv\u00fdmi barvami podle vzpom\u00ednek na p\u016fvodn\u00ed sc\u00e9nu. V n\u011bkter\u00fdch projektech dokonce m\u011bn\u00edm zobrazenou realitu klonov\u00e1n\u00edm ur\u010dit\u00fdch nevyhovuj\u00edch parti\u00ed obrazu.<\/p>\n\n\n\n

Ale v\u00fdtiskem z tisk\u00e1rny pro m\u011b pr\u00e1ce nekon\u010d\u00ed. Za fin\u00e1ln\u00ed produkt pova\u017euji adjustovanou fotografii. V paspart\u011b pro voln\u00e9 prohl\u00ed\u017een\u00ed portfolia, pro dekoraci interi\u00e9r\u016f pak zav\u011b\u0161enou na zdi \u2013 bu\u010f v r\u00e1mu nebo jako fotoobraz. Pro tyto \u00fa\u010dely pou\u017e\u00edv\u00e1m archivn\u00ed materi\u00e1ly t\u00e9 nejvy\u0161\u0161\u00ed kvality. Tisknu v\u00fdhradn\u011b na pap\u00edry zna\u010dky Hahnem\u00fchle<\/a>, nej\u010dast\u011bji na Photo Rag Ultra Smooth 305<\/a>. Pro kone\u010dnou adjustaci pou\u017e\u00edv\u00e1m archivn\u00ed paspartovac\u00ed desky a r\u00e1my Nielsen.<\/p>\n\n\n\n

Jsem \u010dlenem fotografick\u00e9ho sdru\u017een\u00ed \u010cern\u00e1 slune\u010dnice<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

More: Short Biography, Publishing, Books Although photography is inherently dependent on reality happening in front of the camera, the only depiction of reality does not satisfy me. I try to show the observers something that they cannot perceive with their own eyes. My goal is to produce Fine Art Photography. 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