Puchalszczyzna, or the Creativeness of Włodzimierz Puchalski. Part Two. Inspired Creativity (e-book in Polish)

Publisher: ŻUBROWA 10 JAN WALENCIK, Żubrowa Street 10, 17-230 Białowieża

Monograph concept and text: Jan Walencik

Authors of photographs (in PART II): Janusz Czecz, Krzysztof Komar, Tomasz Ogrodowczyk, Wojciech Plewiński, Izabela Puchalska, Roman Puchalski, Włodzimierz Puchalski, Paweł Szymański, Stanisław Terebus, Jan Walencik, Ryszard Wyrzykowski and John Doe.

Photograph on front cover and title page: Janusz Czecz

Sources of illustrations (in PART II) – collections from: Institute of Biochemistry and Biophysics PAS (H. Arctowski Polish Antarctic Station), The Niepołomice Museum, Wojciech Plewiński, Anna Puchalska-Żelewska, Jan Walencik, Wikipedia, Free encyclopedia, Educational Film Studio

Editorial work on the monograph and arrangement and selection of iconography: Jan Walencik

Preparation of captions, annexes, bibliographies and indexes: Jan Walencik

Editing and restoration of photographs: Jan Walencik

Graphic and typographic design, typesetting and page layout: Jan Walencik

Iconography scanning, initial photography retouching, index verification, production cooperation: Krzysztof Komar

Proofreading: Krzysztof Komar, Bożena Walencik, Marta Kołodziej-Sobocińska, Wojciech Sobociński

© Jan Walencik 2022

© ŻUBROWA 10 JAN WALENCIK 2022

All rights reserved. No part of this two-part publication, or its entirety, may be reproduced, stored as a data source, and transferred or transmitted in any form of recording without the written permission of the copyright owner.

For each .pdf file of this book, a non-exclusive and non-transferable license is granted to use the e-book. The Reader-Licensee does not purchase a specific copy, but a license to read the content using his own equipment.

In order to protect copyrights, each shared file – as intellectual property subject to legal protection – is marked with a visible and hidden watermark containing individual data of the Reader-Licensee, as well as is properly encrypted and protected against modification, copying and printing.

Edition 1 2022 (e-book)

The promotional cover of the e-book – the second part of Jan Walencik’s monograph Puchalszczyzna. © ŻUBROWA 10 JAN WALENCIK 2020.

Puchalszczyzna, or the Creativeness of Włodzimierz Puchalski. Part Two. Inspired Creativity

TABLE OF CONTENTS

CHAPTER XI. TEMPTING PHOTOGRAPHY:
my photography is an attempt to capture the image of what is now disappearing 9

SUBJECTS AND FORMS OF PRESENTATION OF PHOTOGRAPHY 9

1. SUBJECTS AND LOCATIONS OF PHOTOGRAPHS 9

2. CREATIVE STAGES 14

3. PRESENTATION OF PHOTOGRAPHS 14

A. OWN BOOKS AND ALBUMS 14
B. EXHIBITIONS 34
C. SHOWS OF PHOTOS AND OTHER MEETINGS WITH THE AUDIENCE 42
D. PRESS PUBLICATIONS 43
E. PUBLICATIONS IN BOOKS AND STUDIES BY OTHER AUTHORS 46
F. POSTCARDS, CALENDARS AND OTHER SMALL FORMS 48
G. PHOTOGRAPHIC CONTESTS 50

PHOTOGRAPHIC WORKSHOP 51

1. PHOTOGRAPHIC EQUIPMENT AND MATERIALS 51

A. STILL CAMERAS AND STANDARD OPTICS 51
B. INTERCHANGEABLE OPTICS 57
C. ACCESSORIES 60
D. EQUIPMENT FAILURES 60
E. DAYLIGHT SENSITIVE MATERIALS 61

2. PHOTOGRAPHIC METHODS 64

A. APPROACH – A KEY ASPECT 64
B. PHOTOGRAPHING ANIMALS FROM HIDES 75
C. PHOTOGRAPHING ANIMALS FROM STEALTH 87
D. PHOTOGRAPHING WITHOUT HIDDEN – ANIMALS IN THE WILD 89
E. PHOTOGRAPHING WITHOUT HIDING – TAME ANIMALS, ZOO ANIMALS, ETC. 96
F. PHOTOGRAPHING WITHOUT HIDDEN – DOMESTICATED ANIMALS 101
G. PHOTOGRAPHING PLANTS AND DETAILS 101
H. PHOTOGRAPHING LANDSCAPES AND ARCHITECTURE 102
I. PHOTOGRAPHING OF HUNTING SCENES AND OBJECTS 104
J. PHOTOGRAPHING PEOPLE, EVENTS, HIS OWN WORK, ETC. 113
K. WORKSHOP MANNERS, EXCEPTIONS AND MISTAKES 119

3. PROCESSING OF PHOTOGRAPHS 126

4. ARCHIVING OF PHOTOGRAPHS 131

5. PREPARATION OF PHOTOGRAPHS FOR EXHIBITIONS, BOOKS AND ALBUMS 134

A. SELECTION AND PREPARATION OF PHOTOGRAPHIC MATERIAL FOR EXHIBITIONS 134
B. SELECTION AND ARRANGEMENT OF PHOTOGRAPHIC MATERIAL FOR BOOKS AND      ALBUMS 138
C. CREATION OF BOOK AND ALBUM MODELS AND MATERIALS FOR THE GRAPHIC DESIGNER 149

PUCHALSKI’S STYLE OF PHOTOGRAPHY 152

1. FORM OF THE FRAME – MEANS OF EXPRESSION 153

A. COMPOSITION 153
B. CHIAROSCURO 164
C. SPACE 172

2. EXPRESSION – POWER OF IMPACT 177

A. PICTURE MESSAGE 177
B. NATURAL HARMONY 177
C. GRAPHICAL RICHNESS VS. MINIMALISM 178
D. VISUAL WEIGHT AND SCALE 180
E. DECISIVE MOMENT 182
F. SEEKING THE UNUSUAL 184

3. PUCHALSZCZYZNA IN PHOTOGRAPHY: BEWITCHIN HOMELINESS 188

A. GALLERY. MOTHERHOOD, CHICKS, PORTRAIT, LYRICAL LANDSCAPE 191
B. LIGHT AND SHADOW POEMS 212

CHAPTER XII. FILM ALBUMS:
to transfer all this natural beauty to the film screen 215

SUBJECTS OF FILMS AND GENRES OF FILMS 215

1. FILMS REALIZED 215

A. LIST OF FILMS 215
B. THEMATICS 216
C. CREATIVE STAGES 220
D. GENRES 221

2. FILM PLANS, UNREALIZED PROJECTS 223

PRODUCTION CYCLE AND FILMMAKING WORKSHOP 231

1. ALONE AND IN A TEAM 231

A. FIRST REALIZATION 231
B. EDUCATIONAL FILM STUDIO 233
C. COLLABORATORS 236

2. SCREENPLAY AND PRELIMINARY WORKS 242

A. LITERARY WORKS 242
B. THE BEGINNING OF PRODUCTION 261

3. FILM EQUIPMENT AND MATERIALS 272

A. CAMERAS AND LENSES 272
B. FILM ACCESSORIES 277
C. PHOTOSENSITIVE MATERIALS 279
D. SOUND EQUIPMENT AND TAPES 281
E. PREPARATION OF EQUIPMENT AND MATERIALS BEFORE SHOOTING 282

4. ON THE SET 283

A. WORKING CONDITIONS OF THE FILM CREW 283
B. ORGANIZING SHOOTING SETS 300
C. BEHIND THE CAMERA – WAYS OF FILMING 305
D. BEHIND THE CAMERA – MAKING SPECIFIC SHOTS 322
E. BEHIND THE CAMERA – SIMULTANEOUS PHOTOGRAPHY 334
F. BEHIND THE CAMERA – TEAMWORK 338
G. RECORDING OF NATURE SOUNDS 343
H. CHANGES TO SHOOTING DATES AND PRODUCTION CHANGES 345

5. IMAGE AND SOUND EDITING 351
6. PRODUCTION ACCEPTANCE – CHECKS AND EVALUATIONS 360

PUCHALSKI’S FILM STYLE 380

1. STRUCTURE OF THE FILMS 381

A. MESSAGE AND TYPE OF NARRATION 381
B. IMAGE: DYNAMIC OF SHOTS AND EDITING 391
C. MEANING OF THE COMMENTARY 412
D. MUSIC AND VOICES OF NATURE 416
E. GRAPHICS AND TRICK EFFECTS 419

2. ANALYSIS OF SELECTED FILMS 422

A. On a Bird’s Island 422
B. The Maternal Instinct of Birds 430
C. Among the Mountains and Valleys of the Arctic 431
D. Białowieża Primeval Forest 435
E. The year of the Hunter. Tooting 438
F. Among Meadows and Waters 440
G. Nature stories by Włodzimierz Puchalski. My six steppe polecats 445

3. PUCHALSZCZYZNA IN FILM: LIVE ALBUMS 450

CHAPTER XIII. GREEN WORDS:
numb fly 455

SUBJECTS AND FORMS OF WORD EXPRESSIONS 455

WORKING WITH WORDS 458

1. WRITING BOOKS 458

A. MOTIVATION AND INSPIRATION 458
B. CONCEPT AND SUBMISSION OF THE IDEA TO THE PUBLISHER 458
C. PUBLISHER’S DECISION 467
D. PREPARATION FOR WRITING 468
E. WRITING THE TEXT 468
F. VERIFICATION AND VERSIONS 476
G. SUBMISSION OF THE TEXT FOR REVIEW 486
H. AUTHOR’S CORRECTION 495
I. PUBLISHER’S ADJUSTMENT 496
J. PRINTING AND DISTRIBUTION 496

2. WRITING SHORT FORMS 497

A. STORIES, STORYTELLING, ESSAYS, ALBUM INTRODUCTIONS, COMMENTARIES AND CAPTIONS FOR PHOTOGRAPHS 497
B. ARTICLES AND FEUILLETONS 510
C. NOVELS, SCREENPLAYS AND FILM COMMENTARIES 514
D. MEMOIRS, DIARIES AND TRAVEL LETTERS 514

3. WRITING SPEECH TEXTS 519

COMPOSITION AND STYLE OF PUCHALSKI’S LITERARY TEXTS 525

1. NARRATOR – CHARACTER – PLOT 525

A. ME – THE NARRATOR 525
B. HEROES OF TWO WORLDS 526
C. AXIS OF EVENTS 530
D. CONSTRUCTION OF THE ACTIONS 536
E. NARRATION – SHORT STORIES AND DESCRIPTIONS 539
F. HEROES’ SPEECH 545
G. LITERARY FICTION 548

2. PECULIARITIES OF THE WORD 552

A. PHONETIC MEANS 553
B. FORMATIVE MEANS 553
C. LEXICAL MEANS 553
D. SEMANTIC (MEANINGFUL) MEANS 553
E. SYNTACTIC MEANS 555
F. LIKES 555

3. PUCHALSZCZYZNA IN THE WORD: STORIES CLOSE TO READERS 556

CHAPTER XIV. PIONEER:
the bacillus of great infatuation and passion 563

PRECURSORS AND SUCCESSORS 563

DEVELOPMENT – NEW CHALLENGES, NEW EXPLORERS 593

PUCHALSKI’S CREATIVITY – THE FOUNDATIONS OF THE FUTURE 611

CHAPTER XV. AND HOWEVER, PUCHALSZCZYZNA:
let the sunny day be praised! 617

AROUND PUCHALSKI 617

1. MEMORY 618

2. TIME IS GOING ON… 638

3. REALITY AND FICTION 645

THE BLOODLESS HUNTER PHENOMENON 654

1. MASTER – AMBASSADOR OF LIFE AND FREEDOM 655

2. THRILLING ARTIST – THE POLISH TALENT 659

PUCHALSZCZYZNA… AND WHAT’S NEXT? 663

1. TBC – TO BE… OCCURRED 663

2. KINDLED SPARK 664

ANNEX 3. MORE IMPORTANT EXHIBITS, SHOWS AND PUBLIC MEETINGS BY WŁODZIMIERZ PUCHALSKI 667
ANNEX 4. FILMS OF WŁODZIMIERZ PUCHALSKI 669
ANNEX 5. A SELECTION OF FILMS IN WHICH WŁODZIMIERZ PUCHALSKI’S SHOOTS WAS USED 673
ANNEX 6. BOOKS AND ALBUMS OF WŁODZIMIERZ PUCHALSKI 674
ANNEX 7. BOOKS AND CDS CONCERNING THE WORK OF WŁODZIMIERZ PUCHALSKI 675
BIBLIOGRAPHY (PART TWO) 677
INDEX OF PERSONS (PART TWO) 685
INDEX OF GEOGRAPHICAL NAMES (PART TWO) 689
INDEX OF NAMES OF PHOTO-FILM MATERIALS AND EQUIPMENT (PART TWO) 69

The trailer for the monograph (e-book): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. Created by Jan Walencik. © ŻUBROWA 10 JAN WALENCIK  2022.
NOTE: turn on the English subtitles at YouTube!

EXCERPTS FROM THE MONOGRAPH

Back in the day, my photography didn’t matter much. But now, when mankind has gone too far in the devastation of nature, when the collision between nature and man has reached apocalyptic proportions – I think that my photography is an attempt to capture the image of what is now disappearing, leaving because of man. Despite great slogans and programs, there is a collision between maintaining the environment and the progress of civilization. Therefore, photographing nature has its own weight and it may turn out that our photograms will be the only document for future generations.

P. 16, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 38, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 58-59, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 87, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

I am a naturalist because I believe that photography, despite many new schools, currents, has remained and is above all the best and most reliable document. I don’t just take photographs out of my duties as a documentarian, I also want to capture in pictures the beauty of the world around us, which is passing quickly.

P. 90, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 103, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 144, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 162-163, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

Wildlife scenes, wildlife films are a kind of self-play, because the most mysterious section of life is shown, the most secretive part of nature that is not accessible to everyone. I would like to transfer all this natural beauty to the film screen.

P. 180-181, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 202-203, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 216-217, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 235, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

I only enjoy fully when I can take it all in. It is difficult to bring all of nature from the outdoors to myself. Well, because I can pluck a flower, or catch a bird, or collect some minerals, but that’s not all. Simply put – filming is a substitute for having this beauty. It is this nature on the move, not just captured, fixed, but transferred and actually already seized for myself. And then I have this nature, to which I steal various secrets, mysteries, I have it on film and I can watch it at any time.

P. 312, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 313, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 340-341, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 451, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

For beautiful things, there must be equally beautiful surroundings. My job is a constant hunt for the sun. I must admit that in this respect I have often had bad luck. Friends even say when meeting somewhere in the forests or rushes: – Oh, Puchalski has appeared, it will rain again.

Let the sunny day be praised!

Str. 549, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 569, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 626-627, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

P. 642-643, excerpt from the monograph (in Polish): Jan Walencik. Puchalszczyzna. Part Two. Inspired Creativity. © ŻUBROWA 10 JAN WALENCIK 2022.

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