Feature photography is documentaryphotography by definition: it chronicles

events using images as the visual essenceof a message. Owing to the power of theircontent, photographs in a report are able totransmit directly the passions of the worldwe live in.

Soon after the invention of photogra-phy in 1839, its field expanded to includethe recording of important events. The firstnewspaper report using photography chron-icled the terrible fire that devastatedHamburg in 1942. It was made by Carl F.Stelzner and Hermann Biow by using thedaguerotype technique. It is known that,from that year onwards, daguerotypes andphotographs were regularly used by theLondon Illustrated News, whereas the firstphotograph - a daguerotype engraving -was published in the French journalL’Illustration on July 1, 1848: theBarricades in Rue Saint-Maur.1 Until thevery end of the century, engraving, i.e.graphic transfer, was practically the onlyway to reproduce a photographic recordingin another medium.

Roger Fenton, English photographerwho did the coverage of the Crimean War(1853-1856), is considered the pioneer ofphotojournalism. Owing to the colloidalprocess and the possibility of producing alarger number of photographs on albuminpaper, his photographs were sold in a num-ber of countries. It was the first time that anevent became known internationally throughto the media. The American Civil War(1861-1866) was documented on as manyas several thousand photographs. In thatperiod, photographs were still expensive, aswell as demanding in terms of time and thecomplexity of procedure. The classificationof photography into professional and ama-teur, which is common today, was stillunknown. Therefore, the examples I will useindicate a proto-phase in the developmentof the genre, within which distinct typeswould become discernible only much later.

Two inventions created the precondi-tions for developing a fast and cheap way ofreproducing photographs in print: thehalftone printing procedure, in which thephotograph was transferred onto a metalplate, and the small Eastman camera, inwhich the heavy and fragile glass plateswere substituted by film rolls. All this great-ly improved reporters’ work and mobility,leading to the systematic evolution andflourishing of photojournalism.

Fotoreportaæa je po definiciji dokumen-tarna fotografija: ona slikovno prenosi

neki dogaaj djelujuÊi kao vizualna esenci-ja poruke. U fotoreportaæi snimci sami posebi, zahvaljujuÊi snazi svoga sadræaja,najizravnije posreduju strasti svijeta u koje-mu æivimo.

Nedugo po svom izumu 1839. godinepodruËje fotografije proπirilo se i na biljeæe-nje vaænih dogaanja. Prva novinska repor-taæa koja je koristila fotografiju zabiljeæila jestraπni poæar koji je 1842. godine poharaoHamburg. Dagerotipijski su ga snimali CarlF. Stelzner i Hermann Biow. Poznat je po-datak da su dagerotipije i fotografije objav-ljivane od te iste godine u LondonIllustrated News, dok je prva fotografija -gravirana dagerotipija - objavljena u francu-skom Ëasopisu L’Illustration 1. srpnja1848. godine bila Barikada u ulici Saint-Maur.1 PraktiËki do samog kraja stoljeÊagraviranje, tj. prenoπenje putem grafike,bilo je jedina moguÊnost reproduciranja fo-tografskog zapisa u drugom mediju.

RodonaËelnikom fotoæurnalizma sma-tra se engleski fotograf Roger Fenton kojiprati Krimski rat (1853.-1856.). Zahvalju-juÊi kolodijskom procesu i moguÊnosti izra-de veÊeg broja fotografija na albuminskompapiru koje su se prodavale u viπe dræava,taj rat predstavlja prvo medijsko interna-cionaliziranje jednog dogaaja. Graanskirat u Americi 1861.-1866. veÊ je doku-mentiran s viπe tisuÊa snimaka. U tom jerazdoblju fotografija joπ uvijek skupa, a usmislu vremenskog angaæmana i komplek-snosti postupka i zahtjevna disciplina ukojoj joπ nije postojala danas uobiËajenapodjela na profesionalnu i amatersku foto-grafiju. Stoga primjeri o kojima Êe biti rijeËpredstavljaju protofazu u razvoju æanra kodkojeg se joπ dugo neÊe profilirati razliËitevrste.

Dva su izuma stvorila preduvjete za brzi jeftin naËin reprodukcije fotografije u tis-ku: polutonski postupak tiskanja kojim sefotografija prebacivala na metalnu ploËu iEastmanova mala kamera koja je umjestodotadaπnjih teπkih i lomljivih staklenihploËa imala smotani film. Sve je to umno-gome olakπalo posao i pokretljivost i omo-guÊilo sustavan razvoj i procvat fotorepor-taæe.

Poznata je krilatica da je fotoreportaæaroena u ratu. Prvi svjetski rat njezino jezlatno doba, dok se ©panjolski graanskirat smatra poËetkom razdoblja modernefotoreportaæe. Naæalost, i nedavno iskustvo

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pretpovijest reportaæne fotografije uhrvatskojthe prehistory of feature photography in croatia

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1. J. O. Fleischlinger, Uzlijetanje balona Turul,2.4.1905 / The Turul Baloon Taking Off,2 April 1905, Muzej grada Zagreba

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1 Godine 1898. poËinju se javljati ilustrirani Ëasopisi. U Hrvatskoj Êe fotografije meu prvima reproduci-rati Prosvjeta i Viesti druætva inæinira i arhitekta u Hrvatskoj i Slavoniji. Prve novine s fotoreportaæom kao redovitom rubrikom su Ilustrovani list, koji je poËeo izlaziti 1914. godine.

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1 The year 1898 marked the appearance of illustratedmagazines. In Croatia, the first newspapers to reproduce photographs were Prosvjeta and Viesti druætva inæinira i arhitekta u Hrvatskoj i Slavoniji. The first newspaper regularly featuring photoreportswas Ilustrovani list, first published in 1914.

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There is a famous saying that photo-journalism was born on the battlefield.World War I was its golden era, while theSpanish Civil War is considered the dawn ofthe age of modern feature photography. Inthe unfortunate recent experience of theCroatian Liberation War, the genre couldreassert its relevance dramatically.

But let us turn back to the “pre-histor-ical” context of photojournalism. Speakingof Croatian photographs, there are manyexamples of their documentary foundation,since they bear all the characteristics of thegenre of feature photography. Their valuelies, among other things, in the fact thatthey could not be manipulated throughsubsequent framing or by cutting outunwanted details. Their positives and nega-tives are identical. Due to technical rea-sons, that is, because of the fact that mag-nifiers did not exist in those times, all pho-tographs were contact copies, which todayenables a direct insight into the photo-graphic thinking of individual authors. Theydo not present the past as a unified andcontinuous process, but as a set of frag-ments, which permit no more than a merereconstruction of traces of events.

Unfortunately, this marginal history ispreserved largely in written documents,whereas the artefacts themselves havebeen lost. The project of Ljudevit Gaj for thebook entitled Dogodovπtine Ilirije Velike(Events of Great Illyria) shows the program-matic foundations for the edifying role ofphotography in Croatian culture. Whilepreparing the book for print, Gaj invited,among other experts, Leopold Pexa fromBuda, painter and daguerotypist trained inZagreb, in order to take photographs ofKrapina and Zagreb. This fact is interestingbecause the story was taking place in1844, at the time when, as we have indi-cated before, no direct reproduction waspossible. It is certain that Gaj knew thepublications of Lerebouers, a publisherfrom Paris, entitled Excursions Daguerrien-nes. For financial and political reasons,Gaj’s project never appeared in print. Whatremained is the angry reaction of LeopoldPexa, recorded in a letter, because of theshamefully small sum of money that hereceived for drawing the coats of arms. Hisindignation was intensified by the fact thathe had “even constructed a camera in orderto make photographs of the scenery,”because of which he was adding 19 forintsand 33 ksantims to the bill. The letter was

Domovinskog rata u Hrvatskoj potvrdilo jeaktualnost toga æanra koji se tada ponovnodramatiËno nametnuo.

No, vratimo se u pretpovijesni kontekstfotoæurnalizma. U korpusu hrvatske fotogra-fije mnogi su primjerci koji po svojoj doku-mentarnoj bazi imaju sve karakteristikereportaænog æanra. Njihova vrijednost leæi iu Ëinjenici da nisu mogli biti manipuliraninaknadnim kadriranjem ili izrezivanjem de-talja. Polja pozitivnih kopija i negativa iden-tiËna su. Iz tehniËkih razloga, odnosno zbognepostojanja aparata za poveÊavanje, svesu te fotografije kontakt-kopije, πto omo-guÊuje direktan uvid u fotografsko miπljenjepojedinog autora. Proπlost se kroz te pojed-inaËne fotografije ne predstavlja kao cjeloviti kontinuiran proces, veÊ kao zbroj fragme-nata koji dozvoljavaju rekonstrukciju samotragova dogaaja.

Naæalost, u toj marginalnoj povijestimnoge podatke nalazimo tek u pisanimdokumentima, a ne u saËuvanim artefakti-ma. Projekt Ljudevita Gaja za knjiguDogodovπtinu Ilirije Velike sadræi sve budu-Êe programatske osnove za prosvjetiteljskuulogu fotografije u naπoj sredini. Za pripre-mu tiskanja te knjige Gaj je, uz ostale struË-njake, pozvao i zagrebaËkog aka, slikara-dagerotipista Leopolda Pexu iz Budima dasnimi Krapinu i Zagreb. Podatak je zanim-ljiv zato πto se cijela priËa odvijala 1844.godine, u vrijeme kada, kako je veÊ navede-no, nije bila moguÊa direktna reprodukcija.Sasvim je sigurno da su Gaju bile poznatepublikacije pariπkog izdavaËa Lerebouersaobjavljivane pod nazivom Excursion Daguer-riennes. Zbog financijskih i politiËkih razlo-ga nije doπlo do tiskanja knjige. Ostala jetek ljutnja Leopolda Pexe, zabiljeæena upismu, na sramotno nizak honorar isplaÊenza crtanje grbova, a “usto je konstruiraofotografsku kameru s kojom je trebao snim-iti vidike” te stoga podnosi raËun za joπ 19forinti i 33 ksantima. Pismo poslano izZagreba nosi datum 31. X. 1844. Da jekojim sluËajem projekt realiziran, bio bimeu prvima u svijetu.2

Vaæno ime u povijesti rane fotografijeje Josip BetondiÊ, dubrovaËki ilirac, vele-posjednik, filozof i izumitelj. Povijest knji-æevnosti tom homo universalisu biljeæi za-sluge za objavljivanje GunduliÊeva Osma-na, a kako doznajemo iz onovremenog tis-ka, sagradio je i ogromnu cameru obscuru.Iznimnu vrijednost fotografija Dubrovnikakoje je snimio prepoznali su veÊ njegovisuvremenici. UnatoË tomu Luko Diego

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SorkoËeviÊ naπao je za shodno da o nje-govim sklonostima “fizici” 1948. godinenapiπe tri pjesme rugalice.3 O njima sazna-jemo viπe iz nekrologa objavljenog u zadar-skom Il Nazionale, 1865: “... OtkriÊe foto-grafije, netom po objavi, privuklo je njego-vu paænju, i on je pomno slijedio napredaki poboljπanja, iskuπavajuÊi i prakticirajuÊiovu iznenaujuÊu umjetnost. Konstruiraoje sebi zbog toga veliku cameru obscuru,snabdjevenu razliËitim vjeπto smiπljenimpridodacima, da bi je prilagodio svojimpotrebama i snabdio je prekrasnim akro-matskim objektivom Aucklander. Ostali sunam od njega dragocjeni fotografski radovi,izmeu ostalog razliËite vedute Dubrovnikai okolice. Kada bi u Dubrovniku postojalanastavna ustanova koja bi zasluæivalanaslov domovinske, æeljeli bismo u njoj vid-jeti saËuvane instrumente koje je konstru-irao BetondiÊ, da bi pod pomnom paskombili saËuvani na vjeËnu slavu njegove znan-stvene djelatnosti. No, dok nam vremenatakovu ustanovu ne udijele, Ëvrsto se nada-mo s pouzdanjem da Êe njegovi nasljednicio njima voditi zasluæenu brigu.”4 Na sreÊu,u Povijesnom arhivu u Dubrovniku Ëuva seoveÊi tematski album o povijesti i obiËaji-ma te noπnjama dubrovaËkog kraja, koji jesastavio domaÊi knjiæar Martechini. Meuostalim smo pronaπli i dvadesetak vedutakoje s punim pouzdanjem pripisujemoBetondiÊu, zato πto posve odgovaraju poz-natim podacima, a πtoviπe, u to doba uDubrovniku joπ nema stalnog fotografa pro-fesionalca. VeÊ letimiËan pogled otkrivamajstora koji je posve ovladao metijerom.DapaËe, vjerojatno je i sam doprinosio nje-govu usavrπavanju, zato πto kalotipijskipozitivi nose na sebi neku fiksativnu emul-ziju nepoznatog podrijetla. U ovoj bi prilicitrebalo skrenuti paænju na njegovo zasig-urno najranije poznato djelo - Procesiju sv.Vlaha 1848., koja je prekrasan primjer pri-jelaznog oblika izmeu fotografije i minija-ture. Njezina izuzetnost leæi u Ëinjenici dafiksira stvarni dogaaj s mnoπtvom sudioni-ka snimljen iz ptiËje perspektive. Fotogra-fija je tretirana na naËin starijeg medija, aiz perspektive kasnijeg razvoja. Suvreme-nim bismo je jezikom mogli nazvati i mani-puliranom fotografijom, pa Ëak i fotokola-æem. Ona, meutim, po svojem tematskomsadræaju predstavlja prvu reportaænu foto-grafiju nastalu na tlu Hrvatske te πirinom idubinom kadra joπ dugo neÊe biti nadiena.

U isto vrijeme kad i BetondiÊ, Ëije djelopredstavlja rijetkost i u svjetskim razmjeri-

sent from Zagreb on October 31, 1844.Had the project been realized, it wouldhave been among the first of this sort in theworld.2

An important name in the early historyof photography is that of Josip BetondiÊ, an“Illyrian” from Dubrovnik, landowner,philosopher, and inventor. In the history ofliterature, this homo universalis is meritedwith publishing GunduliÊ’s epic Osman, butnewspapers from the period inform us thathe had also constructed a huge cameraobscura. The exceptional value of his pho-tographs of Dubrovnik was recognised byhis contemporaries. Nevertheless, LukoDiego SorkoËeviÊ found it appropriate towrite three mocking songs about BetondiÊ’saffinities for “physics” in 1948.3 It is alsomentioned in a necrology published in theZadar newspaper Il Nazionale in 1865: “...The discovery of photography attracted hisattention soon after it was made public,and he kept an interested eye on itsprogress and improvement, exercising andpractising this amazing art. For this reason,he construed for himself a large cameraobscura, equipped with various skilfullydesigned attachments in order to adjust itto his own needs, and he supplied it with abeautiful achromatic Aucklander lens. Heleft behind him precious photographs,among others various vistas of Dubrovnikand its surrounding. If Dubrovnik had aneducational institution that could be callednational, we might wish it possessed theinstruments construed by BetondiÊ, in orderto preserve them carefully and thus com-memorate in glory his scientific activity. Butuntil such an institution is established, wecan only hope that his heirs will take prop-er care of them.”4 Fortunately, there is anextensive thematic album preserved in theHistorical Archives of Dubrovnik, which isdedicated to the history, customs, and cos-tumes of Dubrovnik and its surroundings. Itwas compiled by Martechini, a local book-maker, and contains, among other things,some twenty vistas that can be attributed toBetondiÊ with confidence, since they com-pletely correspond to other available dataand since there was no permanent profes-sional photographer in Dubrovnik at thattime. A quick glance suffices to identify amaster who handled his craft with sover-eignty and probably even contributed to itsdevelopment, since the kalotype positivesshow traces of some sort of fixative emul-sion of unidentifiable origin. We should use

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2 Gajeva ostavπtina (NSB, 4701 A V PolitiËko-his-toriËki sastavci)JOSIP HORVAT - JAK©A RAVLI∆, Pisma Ljudevitu Gaju, u: Graa za povijest knjiæevnosti Hrvatske, knj. 26, Zagreb, 1956., 389.

3 G. BetondiÊu, koji uËiπe nauke fizike, Znanstvena knjiænica Dubrovnik, rkp. 725. (s latinskog preveo StojanoviÊ dum Ivan) u: Rukopisi NauËne bibliotekeu Dubrovniku, knj. 1, Zagreb, 1954., 326.

4 Cenno necrologico, u: Il Nazionale, Zadar, 1 (1865.),4 (nekrolog Josipu BetondiÊu na talijanskom jeziku,izbor citata u slobodnom prijevodu M.T.)

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2 Gaj’s legacy (NSB, 4701 A V PolitiËko-historiËki sastavci)JOSIP HORVAT - JAK©A RAVLI∆, Pisma Ljudevitu Gaju [Letters to Ljudevit Gaj], in: Graa za povijest knjiæevnosti Hrvatske [Sources for the history of lit-erature in Croatia], book 26, Zagreb, 1956, 389.

3 G. BetondiÊu, koji uËiπe nauke fizike [To Mr. BetondiÊ, who pursued the science of physics], Znanstvena knjiænica Dubrovnik, MS 725 (transl. from Latin by StojanoviÊ dum Ivan); Rukopisi NauËne biblioteke u Dubrovniku [Manuscripts of theLibrary of Sciences in Dubrovnik], book 1, Zagreb, 1954, 326.

4 Cenno necrologico, in: Il Nazionale, Zadar, 1 (1865),4 (a necrology for Josip BetondiÊ)

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ma, na drugom kraju Hrvatske, u TrakoπÊa-nu, grof Juraj DraπkoviÊ, isto tako veliko imerane fotografije, snima i slaæe svoj kalo-tipijski album. Iako je najËeπÊe snimao po-jedinaËne portrete, prihvatio se i zahtjevnijihzadataka kao πto su skupni portreti Ëlanovaobitelji i prijatelja. Meu njima se izdvajafotografija obitelji Török, Csaky i Desszeffykoja je po broju od dvadeset likova, s jasnoodreenom ikonografskom hijerarhijom upostavi svakog pojedinog lika izuzetna nesamo u DraπkoviÊevu opusu ili u onodobnojhrvatskoj fotografiji, nego ima izuzetnomjesto i u evropskoj fotografiji devetnaestogstoljeÊa uopÊe. Kako su ti skupni portretiujedno i prve æanrovske scene, ne samo ufotografiji, nego i u cjelokupnoj novijoj hrvat-skoj likovnoj umjetnosti, ne treba posebnoisticati njihovu viπestruku polihistorijsku vri-jednost u rekonstrukciji vremena.5

Franjo Pommer, doseljenik iz Danske,u Zagrebu je 1856. godine otvorio prvi stal-ni atelijer. Dugom i bogatom aktivnoπÊupostao je jednim od najznaËajnijih fotografakoji je svoje vrhunske rezultate postigaoupravo u izradi portreta. Srodio se s ideja-ma Hrvatskog narodnog preporoda pa sunjegov prvi veliki projekt portreti petnaesthrvatskih knjiæevnika.6 S obzirom na tokako je bio popraÊen u tisku, taj je projektoËito nastao na osnovi politiËkog domoljub-nog koncepta. U kulturoloπkom je smisluznaËajan, jer punih Ëetrnaest godina pret-hodi Nadarovoj Galerie contemporaine. Nobliæi je uzor ipak imao u djelu Album derZeitgenossen njemaËkog fotografa FranzaHanfstaengela, albuminskoj seriji portretasuvremenika objavljenoj u Münchenu isto-vremeno s Pommerovim projektom. DrugiznaËajan Pommerov poduhvat naen jenedavno u knjiænici HAZU. Iz arhivskog za-borava i pod starom signaturom izronila jeprogramska knjiæica izdana u Zagrebu1865. godine u Narodnoj tiskari dra.Ljudevita Gaja, koja sadræava Prolog, slikuu jednom Ëinu koju kao redatelj, a u ovomsluËaju i urednik, potpisuje Josip Freuden-reich. Ta scenska igra, posveÊena gospodisabornicima, predstavljena je prigodomsveËanosti u Ëast otvorenja Sabora trojedneKraljevine Dalmacije, Hrvatske i Slavonijedana 11. studenoga 1865. godine.

Osobit kuriozitet predstavlja opremaknjiæice koja sadræava, kako na naslovnicinavodi Freudenreich, krasnu fotografiju æivezakljuËne slike, a izdana je za uspomenusvoj gospodi sabornikom. Fotografija zavrπ-ne æive slike svakako predstavlja, ako ne

this opportunity to draw special attention toone of his pieces, which is certainly the ear-liest we know - The Procession of St Blasiusin 1848, a magnificent example of the tran-sition between photography and miniature.Its exceptional value lies in the fact that itchronicles an actual event with a multitudeof participants, which was shot from thebird’s eye view. The medium was treatedtraditionally, but with respect to the laterdevelopment, and using the language oftoday, we might call it a manipulated pho-tograph, even a photo-collage. With respectto its topic, however, it was the first featurephotography ever made on the territory ofCroatia, which would not be surpassed inthe width and depth of its frame for sometime to come.

Contemporary to BetondiÊ, whosework can be considered exceptional even inglobal terms, an equally great name of earlyphotography could be found on the otherside of Croatia, in the castle of TrakoπÊan.It was Count Juraj DraπkoviÊ, who was atthat time compiling his kalotype album.Although he preferred portraits of individu-als, occasionally he took upon himself moredifficult tasks, such as group portraits offamily members and friends. Among these,a particularly accomplished example is thephotograph of the Török, Csáky, andDezseffy families. The fact that it showstwenty figures, with a clearly defined icono-graphic hierarchy represented by theirrespective postures, makes it exceptionalnot only within DraπkoviÊ’s opus, or withincontemporary Croatian photography, butalso within the nineteenth-century Euro-pean photography as a whole. Since suchgroup portraits were the earliest genrescenes in photography, which also markedthe new period of Croatian visual arts ingeneral, their manifold historical value inthe reconstruction of time is more than evi-dent.5

Franjo Pommer, a Danish immigrant,opened the first permanent photographer’satelier in Zagreb in 1856. In the course ofhis long and fruitful activity, he became oneof the most distinguished photographers ofCroatia, his greatest achievements beingprecisely those in the field of portraiture.Since he sympathised with the CroatianNational Revival, his first great project con-sisted in portraying fifteen Croatian writers.6

The coverage of this project in the mediareveals the fact that its concept was obvi-ously political and patriotic. In terms of cul-

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5 MARIJA TONKOVI∆, Juraj i Karlo DraπkoviÊ kao fotografi (katalog izloæbe u Muzeju za umjetnost i obrt), Zagreb, 1985.

6 Portreti su bili zamiπljeni kao prilog listu Danica.

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5 MARIJA TONKOVI∆, Juraj i Karlo DraπkoviÊ kao fotografi [Juraj and Karlo DraπkoviÊ as photogra-phers] (exhibition catalogue), Zagreb, 1985.

6 The portraits were planned as an attachment to theDanica journal.

2. AndroviÊ & Goldstein, Dolazak cara FranjeJosipa I. u Zadar, 10. 4. 1875. / Arrival of EmperorFrancis Joseph I in Zadar, 10 April 1875, Dræavniarhiv u Zadru3. J. BetondiÊ, Procesija sv. Vlaha u Dubrovniku,oko 1848. / St Blasius Procession in Dubrovnik,around 1848, Dræavni arhiv u Dubrovniku4. O. Rechnitzer, Gradnja katedrale u Osijeku, oko 1896. / Building Osijek Cathedral, around1896, Muzej Slavonije, Osijek5. O. Rechnitzer, Proslava 40. godiπnjice pjevaËkogdruπtva kolo, 1902. / Celebration of the 40th

Anniversary of the Kolo Choir, 1902, Muzej gradaZagreba

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ture, it is of foremost significance, since itpreceded Nadar’s Galerie contemporainefor as much as fourteen years. Its closestmodel is the Album der Zeitgenossen(Album of Contemporaries), made by Ger-man photographer Franz Hanfstaengel, analbumin series of portraits of his contempo-raries, published in Munich at the sametime as Pommer’s project. Another impor-tant achievement of Pommer’s was discov-ered recently in the library of HAZU (Croa-tian Academy of Sciences and Arts). Res-cued from archival oblivion, marked by theold call number, there appeared a program-me booklet that had been published inZagreb in 1865, in the People’s PrintingHouse of dr. Ljudevit Gaj. It contains atheatre piece entitled Prologue, a play inone act, signed by Josip Freudenreich, whowas its director and in this case also itspublisher. This play was dedicated to themembers of Croatian Parliament and pre-sented at the solemn opening of the Parlia-ment of the Tripartite Kingdom of Dalmatia,Croatia, and Slavonia on November 11,1865.

A special curiosity is the decoration ofthe booklet, which includes, in Freuden-reich’s words written on the cover, a beau-tiful photograph of the live final scene, pub-lished as a souvenir to the gentlemen,Members of Parliament. The photograph ofthe final live scene is certainly a rarity in thevisual documentation of Croatian theatreand a valuable discovery. Namely, anotherearly photograph of a troupe of actors datesfrom 1894: it is a documentary photographby Marko Antonini, which was made inZagreb and entitled Kralj Andrija II u Spljetu(King Andrew II in Split). For a long time, itwas considered the only preserved photo-graph of the Old Theatre on St MarcusSquare, as well as the last shot of a perfor-mance taking place under gaslight, madeon March 16 and 17, 1894. Some yearsago, while exploring the Croatian photo-graphic heritage, I discovered another pho-tograph of the same live scene. It was shotby Count Stjepan Erdödy, who also tookcare to note down the following: Agram,16. März 1894, Lebendebilder in Theaterbei elektrischem Lichte - which discardsthe former claims that Kralj Andrija II uSpljetu was the last performance undergaslight. The photograph of the live finalscene of Freudenreich’s Prologue is signifi-cant because of its date, since it was shotno less than 29 years before the ones by

vrijedno otkriÊe, onda barem vaænu zanim-ljivost u slikopisu povijesti hrvatskog glumi-πta. Naime, prva dosad evidentirana foto-grafija glumaËkog ansambla datira tek iz1894. godine kada je Marko Antonini uZagrebu snimio æivu sliku s naslovom KraljAndrija II u Spljetu koju se dugo smatralojedinom saËuvanom fotografijom iz Starogkazaliπta na Markovu trgu. Snimka MarkaAntoninija do sada se takoer vodila i kaoposljednja snimka predstave pod plinskomrasvjetom prikazivane 16. i 17. oæujka1894. IstraæujuÊi hrvatsku fotografskubaπtinu pronaπla sam prije nekoliko godinai drugu fotografiju iste æive slike. Snimio juje grof Stjepan Erdödy, koji je pri tompedantno zabiljeæio: Agram, 16. März1894, Lebendebilder in Theater bei elektri-schem Lichte, πto opovrgava dotadaπnjenavode da je Kralj Andrija II u Spljetu bilaposljednja predstava pod plinskom rasvje-tom. Fotografija æive zakljuËne slike Freu-denreichova Prologa znaËajna je po datumunastanka. Naime, ta fotografija iz Prologasnimljena je Ëitavih 29 godina prije Antoni-nijeve i Erdödyjeve, smatranih dosad prvimsnimkama hrvatskog glumiπta.

Mimo obiËaja vremena, fotografija (kaouostalom ni tekst), nema potpisa autora.Vjerojatno je vaænost namjene i trenutkapridonijela tomu da anonimno i u smier-nosti posvete svoj rad visokom cilju. Nogotovo s potpunom sigurnoπÊu tu fotografi-ju pripisujem Franji Pommeru, jer tehniËki iestetski pokazatelji, kao i veliËina otiska,odgovaraju njegovim ranijim djelima. Godi-nu dana nakon Prologa, Pommer je snimioreportaænu fotografiju s otkriÊa spomenikabanu JelaËiÊu iz 1866. godine, koju se du-go smatralo prvom predstavnicom reportaæ-nog æanra u Hrvatskoj.7 LogiËno je zakljuËitida su za takvu zahtjevnu zadaÊu angaæiralidobitnika Kolajne za pervu nagradu naGospodarskoj izloæbi odræanoj u godini kojaje prethodila zasjedanju Sabora. Pommerje, πtoviπe, u Zagrebu poËeo raditi kao kaza-liπni slikar, ili kako se sam obiËavao potpisi-vati, decorateur, te je u godinama prije ne-go πto se poËeo baviti fotografijom nuænomorao blisko suraivati s umjetniËkim di-rektorom Narodnog zemaljskog kazaliπtaDimitrijem Demetrom i redateljem JosipomFreudenreichom. UzimajuÊi u obzir teæinu inezgrapnost ondaπnje fotografske opreme8,nije nevaæna ni Ëinjenica da mu se atelijernalazio na Gornjem gradu u VieÊniËkoj uli-ci, dakle nedaleko od zajedniËke zgrade ka-zaliπta i sabornice.

6. L. Morpurgo, U Ëamcu pred Supetrom, oko1910. / In a boat in front of St. Peter, around1910, Muzej grada Splita7. V. BeciÊ, Bojiπte s palim ratnicima, 1916.,fotografija objavljena u pariπkom mjeseËnikuL'Illustration. / Dead Soldiers on the Battlefield,1916, published in the Parisian monthlyL'Illustration8. V. BeciÊ, Kolona u odstupanju, 1916., fotografi-ja objavljena u pariπkom mjeseËniku L'Illustration /Retreat, 1916, published in the Parisian monthlyL'Illustration

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7 »uva se u Muzeju grada Zagreba Inv.br.MGZ 8660-II-6012 a.

8 Sabor je, naime, za sve vrijeme svojega rada zasjedao u redutnoj dvorani na prvom katu zgrade starog kazaliπta na Markovu trgu. Vidi: MARIJA TONKOVI∆, Prva kazaliπna fotografija, u: Cicero, 6 (1999.).

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Posjet cara Franje Josipa I. Hrvatskoj1875. godine potaknuo je cijeli niz fotograf-skih projekata. NajznaËajniji meu njima, avezan uz ovu temu, svakako je onaj koji suzajedniËki izveli zadarski ljekarnik, kemiËari fotograf Nikola AndroviÊ i Marko GiuseppeGoldstein. Potonji je roen u Poljskoj, azanat je izuËio u atelijeru strica Leopolda uTrstu. Goldstein Êe kasnije postati naj-znaËajniji splitski fotograf. U Zadru poËinjeraditi s Nikolom AndroviÊem. Njih dvojicarodonaËelnici su reportaæne fotografije uHrvatskoj, jer su 1875. godine, za navede-nog carskog posjeta izveli pravi poduhvat.Pratili su cara od Rijeke do Boke Kotorske,biljeæeÊi svaku od etapa njegova putovanja.Na kraju puta predali su mu luksuzno uve-zanu mapu fotografija pod nazivom Albumsvjetlopisni s opisovanjem putovanja Nj.Vel. cesara Franje Josipa I kroz Dalmacijugodine 1875. Dva primjerka toga albumasaËuvana su i u Hrvatskoj.9

Naæalost, uvijek vizualno atraktivni pri-zori nesreÊa i katastrofa oduvijek su privla-Ëili i fotografe. Tako su razruπene kuÊe uZagrebu nakon potresa 1880. godine sni-mala dvojica znaËajnih hrvatskih fotografa:Herman Fickert i Ivan Standl te ih sloæili ufotoalbume.

U Karlovcu je Hinko Krapek 1886. go-dine snimio seriju portreta Ëlanova Strankeprava te ih za potrebe izbora izradio i uminijaturnoj varijanti, u veliËini poπtanskemarke, πto se smatra prvom pojavom rek-lamne fotografije u Hrvatskoj. Krapek je iautor fotomonografije Grad Karlovac i njego-va okolica, kao i sluæbenog albuma Jubilar-ne gospodarske izloæbe 1891. koji svakakotreba uvrstiti u protofazu hrvatske repor-taæne fotografije.

Profesionalni fotografi sve ËeπÊe izlazeiz atelijera, reportaæno biljeæeÊi vaæne doga-aje i druπtveni æivot, uglavnom na netomuvedenom formatu dopisnice. Pojedini ko-mercijalni fotografi sve ËeπÊe snimaju repor-taæe o znaËajnim dogaajima u viπe kadro-va iz raznih rakursa koji se, sloæeni, kon-ceptualno, doimlju poput filmskih sekvenci.Vlasnik uglednog zagrebaËkog fotoatelijeraIvan Rechnitzer zabiljeæio je slijetanjebalona Turul i Excelsior, ustoliËenje banaPavla Raucha, otvorenje DjeËjeg doma,ZagrebaËkog zbora i otvorenje UmjetniËkogpaviljona. Njemu dugujemo i spoznaju oprvim “hrvatskim ljetnim igrama”, odnosnopredstavama Dubravke i Sna ljetne noÊi1913. godine u zagrebaËkom Maksimiru.Ilustrirani tisak koji se upravo pojavio u

Antonini and Erdödy, which used to be con-sidered the earliest photographs of Croatiantheatre.

Contrary to the customs of the age, thephotograph and the text do not bear anysignature. Perhaps it was the importance ofthe moment that led the author to dedicatehis work to the sublime cause anonymous-ly and with humbleness. However, I believethat I can attribute this photograph toFranjo Pommer with almost absolute cer-tainty, since all technical and aestheticalindications, as well as the size of the off-print, correspond to his earlier work. A yearafter the Prologue, Pommer chronicled theinauguration of the statue of Ban JelaËiÊ in1866, on a photograph which was for along time considered the first example offeature photography in Croatia.7 It is onlylogical to conclude that such a demandingtask was assigned to the winner of the FirstPrize Orden at the Trade and IndustryExhibition, held in the year prior to theParliament meeting. Moreover, Pommerbegan his career in Zagreb as a theatrepainter or decorateur, as he used to sign hiswork, years before he became involved withphotography, which means that he had tocooperate closely with the art manager ofthe National People’s Theatre, DimitrijeDemetar, and director Josip Freudenreich.One should also mention the fact thatPommer’s atelier was located in the UpperTown, in VieÊniËka Street, not far from thebuilding shared by the theatre and theParliament, which is important if we keepin mind that the photographic equipmentwas extremely heavy and clumsy in thosetimes.8

The visit of Emperor Franz Joseph I toCroatia in 1875 inspired a number of pho-tographic projects. The most significantamong them, as well as related to our topic,was certainly the joint enterprise of NikolaAndroviÊ, apothecary, chemist, and photog-rapher from Zadar, and Marko GiuseppeGoldstein. The latter was born in Polandand trained at the atelier of his uncleLeopold in Trieste. Later on, he wouldbecome the most prominent photographerof Split. He began to work with NikolaAndroviÊ in Zadar. The two of them can beconsidered the pioneers of feature photog-raphy in Croatia, since their action duringthe mentioned visit of the emperor in 1875was an outright achievement. They fol-lowed the emperor from Rijeka to BokaKotorska, recording all stages of his jour-

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9. I. Rechnitzer, GunduliÊeva Dubravka uMaksimiru, 20. 8. 1913. / Performance ofGunduliÊ's Dubravka in Maksimir Park, 20 August1913, Muzej za umjetnost i obrt, Zagreb10. H. Fickert, Priesterova kuÊa (iz albumaUspomena na zagrebaËki potres od 9. studenog1880.) / Priester's House (from the albumMemories of the Zagreb Earthquake of 9 November1880), Muzej za umjetnost i obrt, Zagreb11. I. Standl, Kaπina, slika zagrebaËkog potresa1881., / an Image of the Zagreb Earthquake1881, Muzej za umjetnost i obrt, Zagreb

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9 MARIJA TONKOVI∆, Æidovi fotografi, Zagreb, 2004. Spomenuti albumi Ëuvaju se u Dræavnom arhivu u Zadru i Znanstvenoj knjiænici u Rijeci, dok se prvi luksuzni primjerak, poklonjen caru, Ëuva u Muzeju Franje Josipa I. u Badenu.

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7 It is preserved at the Zagreb Municipal Museum, Inv. nr. MGZ 8660-II-6012 a.

8 The Parliament held it sessions in the so-called Ballroom, located on the first floor of the Old Theatre building on St Marcus Square. See: MARIJA TONKOVI∆, Prva kazaliπna fotografija [The first theatre photograph], in: Cicero, 6 (1999).

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ney. At the end, they presented him with aluxuriously bound album with photographs,entitled Album svjetlopisni s opisovanjemputovanja Nj. Vel. cesara Franje Josipa Ikroz Dalmaciju godine 1875 (The Photo-graphic Album Describing the Journey of HisMajesty, Franz Joseph I, through Dalmatiain the Year of 1875). Two copies of thisalbum are preserved in Croatia.9

Visually attractive scenes of accidentsand disasters have always attracted pho-tographers. Thus, the houses demolished inthe Zagreb earthquake in 1880 were com-memorated by two distinguished Croatianphotographers, Herman Fickert and IvanStandl, who collected the photographs in aspecial photo-album.

In Karlovac, Hinko Krapek made aseries of portraits representing the membersof the Croatian Party of Rights in 1886. Forthe purpose of the elections, he also made aminiature version, size of a postage stamp,which is considered the first example ofadvertising photography in Croatia. Krapekis also the author of a photo-monographentitled Grad Karlovac i njegova okolica(The Town of Karlovac and its Surroun-dings), as well as the official album of theJubilee Trade and Industry Exhibition in1891, which is certainly to be included inthe proto-phase of the Croatian feature pho-tography.

Professional photographers were nowmore often working outside of their ateliers,reporting important events of public life,mostly in the recently introduced postcardformat. Certain commercial photographersused to make reports on important events inseveral frames from various angles, which, ifput together, conceptually acted like filmsequences. The owner of a prominentZagreb atelier, Ivan Rechnitzer, chronicledthe landing of the Turul and Excelsior bal-loons, the coronation of Ban Pavao Rauch,and the openings of an orphanage, theZagreb Fair, and the Pavilion of Art. Owingto him, we can imagine today what the firstCroatian Summer Games looked like, aswell as the performances of Dubravka andMidsummer Night’s Dream in 1913, stagedin the Maksimir Park in Zagreb. Illustratedjournals, which had just appeared inCroatia, mostly published his photographs.His brother Ottokar documented the con-struction of St Paul’s Church in Osijek.

In the late nineteenth century, amateurphotographs again began to play an impor-tant role in the history of photography,

Hrvatskoj objavljivat Êe najËeπÊe njegovefotografije. Njegov brat Ottokar u Osijekupak dokumentira izgradnju Crkve sv. Pavla.

Fotografi amateri koji krajem 19. sto-ljeÊa ponovno preuzimaju sve vaæniju uloguu povijesti fotografije vizualno opremaju raz-na izdanja. Za monografiju Zagreba posve-Êenu gradonaËelniku Moπinskom Slobodni iKr. zem. grad Zagreb od godine 1892. dogodine 1902. slike je, uz profesionalcaRudolfa Mosingera, priredio Leo Vetter, ina-Ëe Ëlan Wiener Camera Cluba. Iz te edicijeposebno je vrijedna serija koja dokumentiranadsvoivanje potoka MedveπËak i regula-ciju istoimene ulice.

Luciano Morpurgo, potomak uglednesplitske obitelji, jednostavnim polovnimaparatom snima Split svoje mladosti, u kojise vraÊa diplomiravπi ekonomiju u Veneciji1907. godine. Uzme li se u obzir da je tekpostao punoljetan, serija fotografija koju jetada snimio fascinira svjeæinom pristupa,neformalnoπÊu, ali istovremeno i zreloπÊu.U njima se veÊ slute bitne karakteristikenjegova stila: neposredna simpatija i uæiv-ljavanje u fotografirani subjekt te sposob-nost saæimanja atmosfere ili karaktera zna-kovitom preciznoπÊu opservacije. Za doku-mentarne snimke obnove splitske Katedralesv. Duje dobio je 1908. godine poËasnudiplomu lista Il Piccolo iz Trsta. Njegov pre-lazak s amaterske na profesionalnu fotogra-fiju odvijao se postupno. Godine 1912. na-bavlja profesionalnu kameru kojom snimaplaninarsku fotografiju, πto je strast koja Êega pratiti do kraja æivota. Godine 1914.surauje s beËkom tvrtkom Kilophot za kojupo narudæbi snima prizore iz Juænog Tirola.Naukovanje u BeËu i rad s Kilophotovimgolemim negativnim ploËama presudni suza njegovo formativno razdoblje. Nakonobjave rata kao izbjeglica napuπta Dalmaci-ju i nastanjuje se u Rimu, πto je ujedno zna-Ëilo i definitivno opredjeljenje za fotografiju,i to u profesionalnom smislu. Nas zanimajunjegovi radovi nastali u tom najranijem raz-doblju, zato πto ostatak pripada korpusutalijanske fotografije. U Muzeju grada SplitaËuva se stotinjak njegovih originala, anedavno su iz arhiva u Rimu otkupljenepresnimke vezane uz Split. Imao je jednurijetku priliku snimiti grad pod snjeænimpokrivaËem. ZadivljujuÊe su situacije iz sta-re luke s danas iπËezlim jedrenjacima, tra-bakulima i bracerama. Anticipira i neke bu-duÊe senzibilitete snimkama iz ptiËje per-spektive kada prati sveËanosti za Sudamiju.Veliku humornost postiæe biljeπkama posve

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reportaænog karaktera i situacijama skupaliπta na BaËvicama, onda joπ podije-ljenog na posebne dijelove za dame i gospo-du.10

Protofazu razvoja reportaæne fotografijeu Hrvatskoj zakljuËuje slikar Vladimir BeciÊ,svakako najmarkantnije ime njene ratneinaËice. Iz kasnije perspektive moglo bi sereÊi da mu je fotografija bila suena. Nakonzavrπene Akademije u Münchenu i godinedana provedene u Parizu, BeciÊ se krajem1910. vratio u domovinu i nastanio se uOsijeku. Atelijer je imao u Kolodvorskoj uli-ci, u fotografskoj radnji Schrecker. Stjeca-jem okolnosti 1916.-1918. bio je suradni-kom (dopisnikom, ratnim slikarom i foto-grafom) prestiænog pariπkog polumjeseËnikaL’Illustration s balkanskog ratiπta. To su go-dine BeciÊeve profesionalne reporterske ak-tivnosti: razdoblje njegove “primijenjene”umjetnosti, umjetniËkog prilagoavanja no-vim okolnostima i potrebama. U okviru su-radnje s L’Illustrationom zadræat Êemo sesamo na njezinim fotografskim aspektima.Objavljeno mu je preko dvadeset i pet foto-grafija, a opravdano je za pretpostaviti da ihje poslao bitno viπe. Trideset i pet negativana staklu Ëuva se u beogradskom Ratnommuzeju, a neπto ih se joπ nalazi u obitelji.

Vladimir BeciÊ izvjeπtavao je s prvihlinija bojiπnice, povlaËenje i povratak s tra-govima bitaka koje se joπ dime, bojna poljaprekrivena poginulima, Ëahure i rovove. Sni-mao je pokrete vojski, kolone, predah,dnevne aktivnosti; portretirao je vojnike,Ëasnike, vojskovoe. BeciÊeva fotografijaodaje πkolovano oko: njezin su izraz i ugo-aj primjereni navedenim temama. KreÊuse od narativnosti ad hoc registriranja, oddokumentarnih portreta snimljenih svomvjeπtinom profesionalnog fotografa, do kom-pozicija masovnih pokreta gotovo eisen-steinovske ekspresivnosti: s traæenim rakur-som i formatiranjem izreza (naroËito impre-sivnih horizontalnih kverova), sa savrπenimosjeÊajem za sekvencu: za koliËinu prostor-nosti u prizoru, za vektore kretanja ili za sta-tiËnu geometriËnost zbornih postrojbi, za ri-tam motivskog sadræaja i za pejzaænu ambi-jentaciju. BeciÊeva suradnja sa L’Illustratio-nom jedan je od vrhunaca hrvatske repor-taæne fotografije. S prestankom rata BeciÊse vraÊa svojoj primarnoj vokaciji i fotografi-ja se potpuno gubi s njegova obzora.11

Tek krajem dvadesetih godina uHrvatskoj, kao uostalom i u ostatku svijeta,zapoËinje prava povijest fotoæurnalizma.Brojni Ëasopisi, jednako kao i dnevni tisak,

mostly in designing book editions. The pho-tographs for a monograph of Zagreb, ded-icated to Mayor Moπinski and entitled Slo-bodni i Kr. zem. grad Zagreb od godine1892. do godine 1902 (The Free RoyalTown of Zagreb, 1892-1902), were madeby professional photographer RudolfMosinger and by Leo Vetter, member of theWiener Camera Club. In this edition, oneshould especially note the series document-ing the vaulting of the MedveπËak rivuletand the regulation of the street with thesame name.

Luciano Morpurgo, from a prominentfamily of Split, used a simple second-handcamera to photograph the town of his youthin 1907, after he returned from Venice,where he had studied economy. If we takeinto account that he had just come of age,his series of photographs appears fascinat-ing in its freshness of approach and uncon-ventionality, combined with maturity. Itreveals the main features of his future style:his frank sympathy and empathy with thephotographed subject, as well as his abilityto condense the atmosphere or the charac-ter with an evocative precision of observa-tion. His photographs documenting therestoration of St Doimo Cathedral in Splitwon him an honorary certificate of the jour-nal Il Piccolo from Trieste in 1908. His pas-sage from amateur to professional photog-raphy was gradual. In 1912, he bought aprofessional camera and started with alpin-ist photography, which would remain hispassion for the rest of his life. In 1914, hecooperated with the company Kilophot fromVienna, which commissioned him to shootthe scenery of South Tirol. His training peri-od in Vienna and working with Kilophot’shuge negative plates were the decisivemoments in his formative period. After theproclamation of war, he left Dalmatia as arefugee and settled in Rome, which markedhis final dedication to professional photog-raphy. For Croatia, his earliest works are ofmajor interest, since the rest belongs to thecorpus of Italian photography. About a hun-dred of his original photographs are pre-served at the Split Municipal Museum anda number of copies related to that townwere recently bought from the Romanarchives. Morpurgo even had a rare chanceto photograph Split covered by snow, whilehis images from the old harbour, with thelong-vanished sailing ships, trabakuls, andbraceras, are indeed fascinating. He alsoanticipated future sensibilities by making

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10 M. LANZILLOTTI, I Morpurgo di Spalato u: Palestina 1927 nelle fotografie di Luciano Morpurgo (katalog),Rim, 2001.; DANIELA DI CASTRO, Luciano Morpurgo. Fotografo, scrittore ed editore 1886-1971. u: Palestina 1927 nelle fotografie di Luciano Morpurgo (katalog), Rim, 2001.

11 MARIJA TONKOVI∆, Slikari fotografi, u: Fotografija u Hrvatskoj 1848 - 1951, Zagreb, 1995.

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9 MARIJA TONKOVI∆, Æidovi fotografi [Jewish Photographers], Zagreb, 2004. The mentioned albums are preserved at the State Archive in Zadar and the Library of Sciences in Rijeka, whereas the luxurious original that was presented to the emper-or is kept at the Franz Joseph I Museum in Baden.

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photographs from the bird’s eye view, doc-umenting the festivities of Sudamija. Hisphotographies of incidents on the citybeach of BaËvice, in those times still divid-ed into two sections for ladies and gentle-men respectively, reveal his natural senseof humour.10

The proto-phase in the development offeature photography in Croatia ended withpainter Vladimir BeciÊ, certainly the mostsignificant name of war photography. Re-trospectively, one could say that photogra-phy was his destiny. After he graduatedfrom the Academy in Munich and anotheryear spent in Paris, BeciÊ returned toCroatia late in 1910 and settled down inOsijek. His atelier was located in theKolodvorska Street, in the Schrecker’s pho-tographic shop. In the period 1916-1918,he was active as reporter, war painter, andphotographer of the prestigious Parisianbiweekly L’Illustration, for which he report-ed from the Balkan front. Those were themain years of his professional reporter’sactivity: the period of his “applied” art andof artistic adaptation to the new circum-stances and needs. Speaking about Mo-purgo’s collaboration with L’Illustration, wewill focus on its photographic aspects only.Around twenty-five of his photographs werepublished, but we have reasons to believethat he had sent in much more. Thirty-fivenegatives on glass are preserved at the WarMuseum in Belgrade and some are still keptwithin the family.

Vladimir BeciÊ reported from the firstline of the front and photographed theretreats and advances of troops, the smokytraces of battles, battlefields covered withdead bodies, empty cartridges and trench-es. He took pictures of armies on the move,long lines of soldiers, breaks and dailyactivities; he portrayed soldiers, officers,and commanders. His photography revealsa trained eye: its expression and atmos-phere are appropriate for the topic. It ran-ges from narration to ad hoc documenta-tion, from portraits made with the skill of aprofessional photographer to compositionsof mass movements. It is marked by ex-pressiveness reminiscent of Eisenstein: bycarefully chosen angles, the formatting ofcuts (especially the impressive horizontalcross-cuts), and a perfect feeling for thesequence: for the amount of space caughtin a single scene, for the vectors of move-ment or the static geometry of the troops,for the rhythm of motifs and landscape

poËinju donositi reportaæe u kojima uloguteksta kao glavnog nosioca vijesti zamjenju-je slika. U poËetku su atelijerski fotografioni koji prvi prihvaÊaju suradnju s tiskom, aproÊi Êe joπ puno desetljeÊe dok se zani-manje fotoreportera ne poËne etablirati kaoposebna profesija.

»uveni publicist Josip Horvat, autor je-dinog sustavnog pregleda razvoja novinstvau Hrvatskoj, poËetke fotoreportaæe smjeπtatek u tridesete godine. Horvat navodi neko-liko imena, a on je prvi koji poËinje shvaÊativrijednost onoga koji stoji iza kamere, i pre-poznavati vaænost njegove, ne samo foto-grafske, kulture.12

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12 JOSIP HORVAT, Povijest novinstva Hrvatske 1771.-1939., Zagreb, 1962., 409. Na raËun svih ostalih rubrika, reportaæa proπiruje svoje podruËje sluæeÊi se svim suvremenim tehniËkim sredstvima, Ëak i avionom, da πto prije dade svoj izvjeπtaj. Tako su npr. zagrebaËki listovi dobili prvi izvjeπtaj o skupπtinskom atentatu 1928. avionom, jer su bile prekinute sve telefonske i brzojavne veze. 30-tih godina se poËinje razvijati fotoreportaæa, kod koje jeslika glavni dio izvjeπtaja, a tekst sporedan tumaË. Franjo Fuis je u Novostima uspio stvoriti svoj sti- love vrsti izvjeπÊivanja, sa svojom reportaæom npr. o Kornatskim ostrvima upoznao je javnost s dotad posve nepoznatim dijelom naπe zemlje i njegovim ljudima. Pogotovu se izmeu dva rata razvilo sport-sko izvjeπÊivanje za sve ogranke masovnog sporta. Prve oblike toga sportskog izvjeπÊivanja je kod πtampe u Hrvatskoj izgradio Pavao Kauders, a razvio Hrvoje MacanoviÊ.

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ambience. BeciÊ’s cooperation with L’Illus-tration is one of the pinnacles of the Croa-tian feature photography. After the war,BeciÊ returned to his primary vocation andphotography disappeared from his horizoncompletely.11

It is only in the 1920s that the real his-tory of photo-journalism began, in Croatiaas well as in the rest of the world. Nume-rous magazines and dailies began to pub-lish reports in which the text was substitut-ed by photographs as the main carrier ofnews. Photographic ateliers co-operatedwith the printed media from the outset, butanother decade would pass before featurephotography was established as a separateprofession.

Famous publicist Josip Horvat, authorof the only systematic survey of the deve-lopment of journalism in Croatia, has pla-ced the beginnings of feature photographyas late as the 30s. Mentioning severalimportant names, he was the first to realizethe value of the person behind the cameraby acknowledging the importance of hisgeneral, not only photographic culture.12

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≥ Marija TonkoviÊ - muzejska savjetnica,voditeljica odjela zbirki Muzeja za umjet-nost i obrt i voditeljica Zbirke starije foto-grafije. Viπa predavaËica predmeta Povijestfotografije na Akademiji dramske umjetnos-ti u Zagrebu.

Marija TonkoviÊ - museum advisor, manag-er of the Collections’ Department at theMuseum of Arts and Crafts, manager of theCollection of Old Photographs. Lectures onhistory of photography at the Academy ofDrama Arts in Zagreb.

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10 M. LANZILLOTTI, I Morpurgo di Spalato, in: Palestina 1927 nelle fotografie di Luciano Morpurgo, (catalogue exhibition), Rome, 2001; DANIELA DI CASTRO, Luciano Morpurgo. Fotografo, scrittore ed editore 1886-1971, ibidem.

11 MARIJA TONKOVI∆, Slikari fotografi [Painters-pho-tographers], in: Fotografija u Hrvatskoj 1848 - 1951[Photography in Croatia, 1848-1951], Zagreb, 1995.

12 JOSIP HORVAT, Povijest novinstva Hrvatske 1771 - 1939 [History of Journalism in Croatia], Zagreb, 1962, 409. Reporters expanded their field at the cost of all other columns, availing themselves of allmodern technology, even airplanes, in order to handin their reports as quickly as possible. Thus, the newspapers of Zagreb were the first to receive the news of the Parliament assault of 1928, since all telephone and telegraph lines were interrupted. In the 1930s, photojournalism begins to evolve, with images serving as the main part and the text as side interpretation. Franjo Fuis from the Novostijournal managed to create his own style within this type of report. For example, in his report on the Kornati islands, he introduced a largely unknown part of the country and its people to the public. Particularly between the wars, sports’ coverage evolved for all branches of popular sport. In Croatia,it was first introduced in print by Pavao Kauders and elaborated by Hrvoje MacanoviÊ.

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