It is not only a painted paper in my hand but a multidimensional phenomenon: tactile-cognitive-historical-documentary-emotionally colorful and always and again – unique
For the November issue of the Diplomacy&Commerce magazine, we spoke with Srdjan Doroški, longtime theater and concert photographer, photographer of the Serbian National Theater, about his first step into photography, his work and approach. “I always approach photography with a dose of fear that sometimes discourages me at the beginning”, he pointed out.
When did you realize you were passionate about photography?
Coincidence and playing, I would say, guided me either together or separately. The beginning of my exploring photography takes us back to 1995. At that time, I was often spending time with my friend Fedja Kiselički, talking about photography. At some point, without thinking too much, as if it was a game, I accepted an unexpected offer from my cousin, who saw my interest in photography, to open a photo studio together. He invested in a photo-making machine, and Fedja and I invested our work. At that moment, I was guided only by my love for photography. I did not have a camera that could be used for professional purposes, nor knowledge of photography, nor the art of making photographs. The future that came unexpectedly brought me that.
“The play of lights, the state of the ambience, the expression of the faces, the movements and the statics in the frame speak of the captured moment”
Then, once again, coincidence took matters into its own hands. Namely, one evening I found myself at a concert of classical music in the company of my sister Mia Doroški Antonić, who had a brilliant idea that on one occasion I, with my camera, record the concert. Thus, in 2007, I became an associate of the Music Youth of Novi Sad, accepting the invitation of Mr. Milan Radulović, the Secretary of the Organization. Thanks to that, I got a job to photograph a theatrical play that took place in 2010 as part of the activities organized by MYNS. I was completely unprepared for what awaited me …
Theater and concert photography are not only artistic. They document the development of a certain institution, they record a period in the history of a society caught in the individual expression, cramp, look…
Just as an institution grows and learns, and then shares the knowledge (because the only two things that grow through sharing are love and knowledge), I grew up with concerts and theaters as well. A new door opened for learning, acquiring, but also for teaching what the experience brought me. Coincidence also led me to the Faculty of Management in Novi Sad, where I started working as an assistant on Theory and Technology of Photography. The position of assistant gave me the opportunity to show students what photography brings, what “feeds” the photography, to show how photography possesses its soul, its inner name, its existence, the depth.
The play of lights, the state of the ambience, the expression of the faces, the movements and the statics in the frame speak of the captured moment. I knew that the story that each photo carries can be interpreted in many ways. And again, there are many conditions for that, from the current mood of the observer, through the sensibility and emotions that are captured in the moment in the photo… It is not only a painted paper in my hand but a multidimensional phenomenon: tactile-cognitive-historical-documentary-emotionally colorful and always and again – unique.
I always approach photography with a dose of fear that sometimes discourages me at the beginning.
Sometimes you appear on the stage, without prior announcement to the artists, because that also happens, and again, regardless of that, the artists feel safe in your presence.
It’s like a game to appear unannounced, isn’t it? But, I appear with deep respect and understanding of the work that the artists are doing. Professionalism, philanthropy and culture have always led me, so before publishing the photo I first check and choose, avoiding to turn the reality into banality. Therefore, there are no accidentally distorted faces or wrong movements in my photo.
“Through concert photography, I learned the basic postulates of behavior and participation in a team”
All genres, drama, opera, ballet, require complete dedication and identification with the moment. Individually, drama requires speed, more than other genres. The opera requires a special color and patience to find a frame of emotion carried by the voice. Ballet is looking for a moment because every jump carries a lot of invisible parts: from the beginning to the end.
Rehearsal or performance, is there a difference in work and approach?
No, It’s the same for me. The presence or absence of complete make-up, costume, scenography, light is for me only a “detail” that changes the final experience. However, the photograph of the play bears one very important fact, that the work consists not only of the writer, composer, actors, performers but also of all those who participate in the creation of lights and scenes and make-up, costumes, as well as all those who spread the word about the play through advertising.
I surrender to the actors of the play, I don’t wait for them to approach me, for them to turn to me. I need to position myself in relation to the actors – I am there because of them.
Festivals – preparations, experience, difference, challenge…?
A big challenge. Each festival is something new and something unexperienced. No matter how big or small it is, the festival carries a dose of festivity. It is not a regular show or concert, but something that only happens that day. The festival is a space where in a relatively short time I have the opportunity to meet a lot of people. I come into contact with different emotions, expressions, but also desires and needs. I am present as someone who “obeys” and not the one who “leads”. However, when the festival is over, my story remains, which only then begins to develop.
How specific is concert photography and is it more demanding than theater?
Concert photography is my debut that gave birth to art in me. Through concert photography, I learned the basic postulates of behavior and participation in a team – to be there, to be accurate, to be invisible, to get as close as possible, but not to disturb the silence that adorns the concert, to observe as the audience, but so that the audience doesn’t see me. In a word, to capture every subtle emotion, to see everything, but for no one to notice me. Only after the concert, I introduce myself with my photos.
Nickname Pablo
Where did the nickname Pabllo come from?
Again quite by accident. A colleague with whom I worked as a photographer in a company left me a message: “Pablo, your products are ready for photography.” And that message was repeated from day to day and one day I asked him: “Why Pablo?” He answered me simply and from the heart: “Well, Picasso! Picasso was an artist and you are an artist too because you create such photographs…!” I was speechless and with gratitude for this wonderful description of my work, I decided to add six letters “Pabllo” to my name.