The tradition of the club's annual exhibition began during the 1950s and 1960s, and its profile began to develop internationally. The International Centre of Art Photography in Paris added the Fotoklub Split’s photographs displayed in the 1962 Paris Biennale to its collection.
Awards for Vučemilović, Garbin, and rest of the gang became regular, and photography became very popular in Split, as reflected in the club’s list of members which includes future journalists, scientists, and even ministers.
Very soon a new generation, influenced by movements in contemporary art, came along, led by Zvonimir Buljević, Aljoša Krstulović, Pero Dragičević, Branko Ostojić, and Ante Verzotti.
The eighties brought another great generation of photographers, especially those from the daily newspaper Slobodna Dalmacija, which was one of the first in the former Yugoslavia to place a greater emphasis on photography. Fotoklub’s current president and news photographer, Fedja Klarić, for example, almost became part of Split’s scenery, being present all over the city with his camera, and his collection of images of everyday life became very popular.
Those who came after him had the opportunity to hone their skills as war news photographers. And they grabbed that opportunity, with Matko Biljak, Božo Vukičević, Tom Dubravec and others working with the biggest news agencies such as Associated Press, Reuters, AFP, etc.
Aside from the truly incredible collection of works within Fotoklub Split, it’s clear therefore that its biggest assets are its members.
Photographs courtesy of Fotoklub Split Archives