Kad se prvi puta susrećemo s Koštrunovom fotografijom, obuzima nas osjećaj da je netko magnetom zahvatio u krivulju vremena koja se pred njim otvara, te je subjektivno preoblikovanu prostornu masu ugađao s ljestvicom osobnog zapisa svijeta u kojem živimo i slikama stvarne konačnosti. Istodobno smo svjesni toga da pred sobom imamo djelo fotografa koji poštuje bezuvjetnost mehaničkog zvuka okidača, kao i pravila fotografske igre spontanih odluka.
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The first time we meet Koštrun’s photography we are overcome by a feeling that someone has grasped, with a magnet, for the time curve opening in front of him and has tuned a subjectively reshaped spatial mass to the scale of a personal record of the world we live in and to the images of real finiteness. At the same time we are aware that in front of us is the work of a photographer who respects the unconditionality of the mechanic sound of the shutter as well as the rules of a photographic play with spontaneous decisions.

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