AM1




David Herdin



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Filosofické fotografie Davida Herdina v Galerii doma.
David Herdin – fotografie. 10.10 – 1.11. 2008-10-11
David Herdin není původem z tohoto regionu. Přistěhoval se do Žádovic u Kyjova před pěti lety z Moravských Budějovic a zhruba ve stejnou dobu se začal seriózně zabývat fotografií. Není profesionálem v tom smyslu, že by měl formální akademické vzdělání. K tvorbě ho přivedlo jak poznání její absolutní životní nutnosti, tak i knihy s fotografiemi Josefa Sudka, z jehož odkazu Herdin v dobrém slova smyslu čerpá. Herdin není žádným běžným fotografem, jakých kolem nás běhá spousta. Zatímco jiní se nechají rozmazlovat vymoženostmi a pohodlností digitální fotografie, Herdin zvolil klasickou a nesmírně pracnou a časově náročnou techniku černobílé fotografie na velkoformátový negativ (13 x 18; standardní kinofilm má políčko dlouhé 35 mm – porovnejte ten obrovský rozdíl!). Kromě toho používá Herdin objektivů s extrémně vysokými clonami: zatímco drtivá většina fotografií kolem nás je tvořena na clony v rozmezí 5,6 – 22, Herdin fotí na clonu 128! Oba faktory – tedy velikost negativu a clony – mají zásadní vliv na ostrost fotografií, které jsou až surreálně ostré a mají tak téměř snový charakter, podobně jako „hyperrealistické obrazy“ malířů nové věcnosti. Co se motivů týče, Herdin je inspirován krajinou ve svém bezprostředním okolí. Třebaže se jeho fotografie zdají být inspirovány „klasickým“ přístupem, jsou vytvářeny i s jistou dávkou konceptuálního přístupu: Herdin si stanovuje úkoly, jako třeba udělat cyklus fotografií, jejichž záběry jsou pořízeny ve vzdálenosti do okolí 50 m. od domu. To není problém, protože Herdin bydlí na samotě mezi Kelčany a Žádovicemi, takže na jeho fotografiích vidíme typické broskvové sady, splav u potoku Hruškovice, JZD u Žádovic apod. Zvláštní cit má Herdin pro kresbu stromů, větvoví a lesních zákoutí, které v jeho podání mají až mystický charakter – které fotografie to dokáží? Snad Sudek, Miroslav Tichý, Ivan Lutterer…Herdin má z každé fotografie pouze jednu zvětšeninu, zbylé po velmi přísném finálním výběru ničí. Pomalost – u fotografie jev téměř paradoxní – je tu hlavní devízou a sílou Herdinových fotografií. Kyjovské i přespolní publikum má ke shlédnutí další lahůdku, kterou by si nemělo nechat ujít. Barbora Lungová.

The Slow Photography of David Herdin
As the digital photography has become the taken-for granted fact of our lives within the last decade, analogue, let alone classical black and white photography is seen increasingly as an antiquated medium. Since the invention of 35 mm film, photography has not only been democratized, but it has also been seen as convenient and fast. Digital photography, now being available to anyone, has even greater technical qualities and it is much easier to achieve technical professional standards of photographs at a relatively low cost. Gone are the days of horrendously expensive cameras and all the technical know-how you had to have if you wanted to take sharp pictures in deep focus and true colors. There, however, still photographers for whom the old technique is fascinating, and the reasons are not only those of the “fetish” of the historical technology. The traditional, black-and-white technology that precedes the 35 mm film is painstakingly slow and requires not only a great degree professional know-how, but patience as well.
David Herdin is one of those people who became fascinated with the old black-and-white process relatively late in his life (around thirty). Despite being an “amateur” photographer, his pictures have the depth (both in the technical and philosophical sense of the word) that photographs of the majority of professional photographers absolutely lack. Because Herdin did not study photography at either professional art college in this country, he lacks the “conceptual” approach to taking pictures; by “conceptual” in inverted commas, I mean the usual approach of an art graduate who wants to fit within the stylistic parlance of contemporary art. However, this dos not mean that Herdin’s approach is naive. Despite lacking even good-quality secondary education, he absorbs visual theory; when I visited his studio for the first time, he was just reading Jacques Aumont’s The Image. Also, he does not find his motives anywhere: he gives himself certain limits and tasks and sees what comes out of them.
David Herdin does not come from this region. The area around Kyjov is famous for its traditional folklore, warm climate, wine-making, and it is essentially an agricultural region. Herdin came here in 2003 from Moravske Budějovice, a very small town in South-West Moravia with a different landscape, history, and economy. He and his family live now in an old house near Kelčany, a village about 4 km from Kyjov. Herdin only began taking photographs after he moved to his present home and he says that it saved his life. You could say that he is a minimalist. Being best at landscapes, he only chooses his motives within one kilometer around his house. Sometimes he sets himself a task of making a cycle of photographs taken only within 200 metres around the house. He is clearly inspired by Jan Sudek, a classic among Czech photographers, who photographed brilliant landscapes and still lives in his studio (which is now used as a gallery on Uvoz, Mala Strana, Prague). Like Sudek, Herdin uses the old-fashioned large format camera for 13 x 18 cm flat Kodak negatives, and uses the seldom-used 128 aperture (while the standard is between 5,6 – 32). The higher number of aperture, the smaller it actually is. The smaller the aperture is, the longer time the negative needs to be exposed to light. Which means that with using the 128 aperture, Herdin has to take one picture for 10 – 30 minutes under standard daylight conditions. This explains the hallucinatory sharpness and depth of his pictures on the one hand, and an occasional blurred branch or leaves (the wind was blowing). Clearly, you have to have an artistic intent in slowness if you want to bother so much with the actual taking of the picture.
So far, Herdin has only had two public exhibitions of his work, on in Veselí nad Moravou, the Kyjov exhibition being his second one. Let’s hope that he secures enough financial means to buy the terribly expensive developing paper, or that it is actually still going to be manufactured in the future. Kyjov already has one famous photographer – Miroslav Tichý. It is time that art lovers realized that there is another one who also deserves proper attention and support.
Barbora Lungová, curator of the exhibition.





Galerie Doma, SVATOBORSKÁ 413 KYJOV 697 01