Tomáš Pospěch’s photographs from the last four years focus on countryside football. Taken mainly in spring and autumn, they have little of the excitement of mainstream sports photography, no stands full of spectators, no advertising around the perimeter and no celebrities.
About nothing decisive, these frozen moments are like the space between film frames. Instead of using a telephoto lens, Pospěch has used a wide-angle. Instead of capturing motion, he has captured moments of waiting, pressing his shutter release only at the instant the ball is no longer in the shot.
He has selected and printed only photos that a sports photographer would usually discard without a second thought. The subject has in this case slipped free of its genre.
