For the last couple of years we’ve had a chance and pleasure to enjoy photographs of a real landscape photographer, the real McCoy. Since the headline deprived you of guessing who the guy in question is, we can get down to introducing this exceptional photographer.
Jerman Vito first got in contact with photography in his high school of art and design (in 1980), as part of the school program. That was when he acquired his first SLR camera (Praktica), and soon he switched it with a Pentax camera (Pentax ME Super). In those times, equipment wasn’t changed as often as it’s the case nowadays, so that camera, in combination with the lenses Pentax 50mm f/1.4 and Tokina 28-85mm f/4.0, was the basis for the next 20-25 years. That combination stood for his basic tools on all his journeys, on excursions concerning his studies (architecture), as well as in experimenting in various fields of photographing. As early as in his high school, he made his own darkroom, where he would spend nights and nights in the company of chemicals, uncovering the mysteries of photography. At that time, he already had a couple of individual exhibitions, and took part at several group ones. Later, he used color slides on his journeys and excursions. He says he still keeps them – around 4000 of them, still waiting patiently for Vito’s free time in order to be scanned.
He moved from the analog to the digital world in 2001 with a couple of compacts, the first of which featured negligible 2 megapixels, in today’s terms. A serious digital story was under way in 2006 when he switched to a Minolta DSLR, while later on, naturally, he moved on to Sony’s A700 and A77.
In the last few years, he has in a way specialized in landscape photography. Really, is there a better example how to unite two loves? Without love for nature and photography, there is hardly good landscape photography. Of course, it should be expected that all those voyages are remembered by some anecdotes, too. Thus, immersed in photographing glaciers in Scandinavia, he neglected the fact that, over there, the ‘day’ can last even 24 hours, so he missed the last ship, and almost spent the night in the middle of nowhere, risking getting frozen. Luckily, others noticed that he was missing, and got back to pick him up… no hard feelings, of course.
The other time he was fascinated by well intentioned citizens of Prague, who waved at him while he was driving through the streets of their city. Only later he realized he’d forgotten his camera on the roof of the car.
Vito Jerman uses every free weekend to take a stroll in the mountains – sometimes even a working day if the weather forecast is good. He always carries with himself his photo equipment – a Sony A77, a Sony 16-50mm SSM, a Samyang 8mm fisheye, and a Tamron 70-200. Sometimes even a tripod.
In the end, it turned out that the hardest part in this text was in fact a choice of photographs that would present the work of Vito Jerman in the best possible way. The first round was very rigorous, so there were only 32 images… After each round, I cast aside a couple of images. Now, 14 have remained, which is a minimum below which it is simply impossible to go since I don’t have the heart to press the DEL button any more.
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