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Photo Equipment Difficulties with sharpness, aperture and the composition of photos In memory of Branko Petrinić The essential condition was, of course, to perpetuate these catches, preserved or at least on photographs. The time of Izaak Walton and the illustrations with pen-and-ink drawings of fish and flies from the book The Compleat Angler had already been past tense and could not return anymore, so that actually only photographs were possible. There was the problem. During the 70s of the 20th century, cameras were the privilege of the higher class and were not accessible to everyone. My neighbours, the Kratofils, had got a camera from America. It was a present. They claimed very proudly that one could shoot even colour photos with it! My friend Branko Petrinić – he sometimes accompanied me on my fishing trips, especially when I went to Slovenia – had a more modern camera than the Russian Zorka 6 and Smena 8, which then, in the Russophile state, were as highly appraised as Russian weapons. Something special! Allegedly, the lens was from the factory Carl Zeiss in Jena, they were in thick cowhide cases and could be used as weapons. If you bang someone’s head with a Zorka, he will certainly fall. The attempt of shooting a trophy with a composition that would have been more appropriate for the cover of the song Green, Green Grass of Home by Tom Jones My friend Branko lived in the opposite part of the town. So shootings of 4 to 8 pound fish from the Gacka could not be made before the next day, because we always came back home late in the evening, after 11 p. m. Full of enthusiasm, I rushed to my friend in order for him to make photos of my trophies. The intention was all right; Branko did this very eagerly and received, notabene, always a decent compensation – a 6-pound fish. But he simply could not get the composition of the motif right. It made me unhappy and sometimes really desperate that my boasting smile about a great fish remained unnoticed, because on the photo I was an undersized, not identifiable person on some meadow. On top of that, I was always somewhere in the left or right corner – whatever. I set myself to work and explained Branko on a sketch where in this photo I should have been with the fish and where the meadow. We repeated the same scenario the next Sunday, because on the Gacka the fish took the bait always, mine at least. But in spite of all that, on the Diacolor the grass was dominating. My fish and I were somewhere in the background. In autumn, when I ran, deliriously happy, with a ten-pound huchen to my dear friend, it was the same story again. I explained again that the fish and I were the central characters and that everything else was secondary. Then it happened – Branko put the fish and me in the middle, but I had no cortex and the fish lacked one part of its head and tail fin. In the end, I realised that my friend had a problem called paralexia, similar to dyslexia; he sees the centre, where in fact there is not the centre.
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Foto pribor Muke s oštrinom, blendama i komponiranjem fotografija U spomen Branku Petriniću Naravno, to je podrazumijevalo da te ulove valja zabilježiti za povijest kao preparate ili bar za uspomenu u vidu fotografija. Vrijeme Izaaka Waltona i ilustracija pero crtežom riba i mušica iz knjige The Compleat Angler spadalo je u prošlo svršeno vrijeme aorista i nije se nikako moglo vratiti, pa su zapravo preostale jedino fotozabilješke. Tu je zapravo bio pravi problem, jer su fotoaparati još uvijek tih sedamdesetih godina XX. stoljeća bili privilegij povlaštene klase i nisu baš bili dostupni svim građanima. Moji susjedi Kratofili dobili su na poklon neki aparat iz Amerike za koji su ponosno tvrdili kako može slikati i u boji! Prijatelj Branko Petrinić, moj povremeni suputnik na ribolovima, poglavito po Sloveniji, imao je fotoaparat nešto moderniji od sovjetskih kultnih aparata Zorki 6 i Smena 8, koji su u tadašnjoj rusofilskoj državi slovili isto kao i rusko oružje, dakle nešto najbolje. Pa se još kazalo kako su im objektivi iz tvornice Carl Zeiss iz Jene, pa imaju uz to i debele futrole od goveđe kože, a mogu služiti po potrebi i za osobnu obranu, jer kad nekoga klepneš Zorkijem po glavi, odmah pada.Pokušaj snimanja trofeja s kompozicijom prikladnijom za cover pjesme: Green, Green Grass of Home – Toma Jonesa Osim toga moj Branko je stanovao i na drugom kraju grada pa je fotografiranje za uspomenu tih ribetina od tri do četiri kile, kakve sam lovio na Gackoj, iziskivalo da se ribe slikaju tek sutradan, jer smo s daleke Gacke dolazili kući tek negdje poslije jedanaest navečer. Tako sam pun entuzijazma hitao mojem prijatelju da mi slika trofeje. Da, namjera je bila dobra, čak je i Branko pokazivao sklonosti toj usluzi za koju je, nota bene, uvijek bio pristojno honoriran kakvom trokilašicom, ali nije uspio komponirati motiv. Na moju žalost i povremeni očaj, čarobni osmjeh koji sam razvukao hvaleći se ribljim trofejem ostao je neuočen jer sam predstavljao na slici malenu, neidentificiranu osobu na nekoj livadi i još k tome u gornjem kutu, lijevom ili desnom, svejedno. Primio sam se posla i objasnio Branku crtežom gdje u formatu moramo biti ja i riba, a gdje livada. Ponovili smo isti scenarij sljedeće nedjelje, jer su ribe na Gackoj, bar meni, uvijek primale, ali opet je dijakolorom dominirala trava, a ja i trofej bili smo u pozadini. U jesen se situacija ponovila kada sam sretan dojurio s glavaticom od 10 kg na snimanje dragom prijatelju. Ponovno sam objašnjavao kako smo ja i riba glavni, a sve ostalo je sporedno. I doista, Branko je i mene i ribu smjestio u sredinu, ali sada sam ja ostao bez tjemena, a glavatica bez dijela glave i repa. Naposljetku sam zaključio da moj prijatelj ima pogrešku u vidu paralakse, nešto kao disleksiju, i da on vidi centar, ali to zapravo ne odgovara istini.