POKONČNI FORMAT V FOTOGRAFIJI STOJANA KERBLERJA

Vrbnjak, Sabina

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Title:	POKONČNI FORMAT V FOTOGRAFIJI STOJANA KERBLERJA
Authors:	ID Vrbnjak, Sabina (Author) ID Ciglenečki, Marjeta (Mentor) More about this mentor...
Files:	UN_Vrbnjak_Sabina_2016.pdf (7,25 MB) MD5: 3650ABC19B2EA7829117F57A796EAE64
Language:	Slovenian
Work type:	Bachelor thesis/paper
Typology:	2.11 - Undergraduate Thesis
Organization:	FF - Faculty of Arts
Abstract:	Stojan Kerbler je ena najvidnejših oseb na fotografskem področju tako pri nas kot v Evropi; je fotograf, mentor, žirant in raziskovalec slovenske fotografije. Razstavljal je na številnih razstavah po celem svetu, od Evrope do bivše Jugoslavije in celo Amerike. Najbolj znan je po svojem izjemnem čutu za portretiranje ljudi, kar se kaže v njegovem precej obširnem opusu. Fotografije je strnil v nekaj večjih ciklov, kot so: Portreti s ptujskih ulic, Haložani, Koline, Tovarniška fotografija in Dvorišča, vsak izmed naštetih pa je dosegel velik uspeh. Prav tako je nastalo veliko fotografij, ki jih ni možno strniti v enotne cikle, vseeno pa igrajo pomembno vlogo v Kerblerjevi fotografiji. To so na primer posnetki kurentovanj in portreti umetnikov ter Kerblerjevih prijateljev. Velik pomen v Kerblerjevem fotografskem razvoju je imelo članstvo v »Mariborskem krogu«, društvu fotografov, katerih poglavitna značilnost je bila uporaba črnega roba na fotografijah ter temnenje ozadja; črni rob je dokazoval, da fotografija ni bila izrezana naknadno, temnenje pa je zakrivalo manj pomembne podrobnosti, ki bi motile kompozicijo. Na začetku svojega delovanja je Kerbler najraje uporabljal kvadratni format 6 x 6, h kateremu se je pred kratkim vrnil v ciklu Dvorišča. Večino svojega delovanja pa je ostal zvest ležečemu formatu, ki je za portretiranje ljudi sicer manj priljubljen kot pokončni. Kerbler se je veliko ukvarjal s portretiranjem ljudi, torej obstaja tudi veliko fotografij, posnetih v pokončnem formatu. Za prehod med formatoma se je odločil iz različnih razlogov; včasih je bil motiv tisti, ki mu ni dopuščal druge izbire, spet drugič je hotel upodobljeno osebo ločiti od okolja, kar mu je pokončni format dopuščal bolje kot ležeči, ki prav nasprotno vključuje več ozadja kot pokončni. Kerbler je isti prizor večkrat fotografiral v obeh omenjenih formatih, pri tem pa ugotovil, da je kompozicijsko ležeči format večinoma bolj kvaliteten od pokončnega. Vprašanje izbire med določenima formatoma je bilo pogosto družbene narave. To pomeni, da se je za določeno obliko formata odločil glede na sporočilo, ki ga je hotel prenesti gledalcu. Z ležečim formatom, v katerega je vključil večji obseg ozadja, je najbolje prikazal občutje domačnosti in varnosti Haložanov. Nasprotno je z uporabo pokončnega formata isto osebo osamil od ptujskih zidov in Ptujske Gore, saj je vključil čim manj ozadja, ter tako prikazal odtujenost in nelagodje Haložanov sredi mestnega vrveža. Vertikalne portrete je skrbno hranil v svojem arhivu in pred kratkim se mu je ponudila priložnost za prvo samostojno razstavo vertikalnih fotografij, ki je potekala 15. aprila 2016, v prostorih letne terase v gostilni Rozika na Ptuju.
Keywords:	Stojan Kerbler, fotografija, pokončni format, ležeči format, portret, Haložani
Place of publishing:	Maribor
Publisher:	[S. Vrbnjak]
Year of publishing:	2016
PID:	20.500.12556/DKUM-59605
UDC:	77(497.4):929Kerbler(043.2)
COBISS.SI-ID:	22434312
NUK URN:	URN:SI:UM:DK:MTX540M6
Publication date in DKUM:	18.08.2016
Views:	1714
Downloads:	138
Metadata:
Categories:	FF
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Secondary language

Language:	English
Title:	VERTICAL FORMAT IN STOJAN KERBLER`S PHOTOGRAPHY
Abstract:	Stojan Kerbler is one of the most prominent persons in the field of photography in Slovenia and also in Europe. He is a photographer, mentor, jury member and an explorer of Slovenian photography. He had exhibitions all over the world, from Europe to former Yugoslavia and also America. He is most known for his remarkable portrayal of people, which is visible in his extensive opus. He created a number of photographic cycles, like: Portraits from the Streets of Ptuj, The People of Haloze, Pig Slaughtering, Factory Photography and Courtyards, all of which were very successful. He also took many photographs which can’t be included into a particular cycle, but nevertheless play an important role in Kerbler's photography. Those are photographs of Kurent's Carnival and portraits of artists and Kerbler's friends. Membership in »Maribor's circle«, a group of photographers, whose main characteristic was the use of black borders and the blackening of backgrounds in photographs, played an important part in Kerbler's professional development. The black border proves that the photograph was not later cut, while darker background hides less important details, which would disrupt the composition. At the beginning of his career he usually used the square format 6 x 6, which he recently used again in his cycle Courtyards. Most of his lifetime however, he used a horizontal format, which is not as commonly used for portraits as a vertical format. He took a lot of portraits, so there are many photographs in vertical formats. He changed between those two formats for different reasons: sometimes because of the motif, others because he wanted to separate the depicted person from its environment, which was easier by using the vertical format. Horizontal formats namely include more background. Kerbler often shot the same scene in both formats and came to the conclusion that, in terms of composition, horizontal formats are better than vertical. His decision of which format to use, mostly depended on social circumstances. That means that he chose a particular format according to the message he wanted to convey to the audience. By using horizontal formats, which include more background, he conveyed the sense of familiarity and safety of the people of Haloze. On the contrary, by using vertical formats, he isolated the same person from the walls of Ptuj and Ptujska Gora, because he did not include that much background and by that he conveyed estrangement and uneasiness of the people of Haloze in the midst of city hustle. He carefully kept his portraits in his archive and recently got the opportunity for the first independent exhibition of vertical format photographs, which took place on 15 April 2016, on the terrace of the restaurant Rozika in Ptuj.
Keywords:	Stojan Kerbler, photography, vertical format, horizontal format, portrait, the people of Haloze

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