Ko se človek prvič sreča s Koštrunovo fotografijo, ga prevzame občutek, da je nekdo z magnetom posegel v krivuljo časa, ki se odpira pred njim, ter subjektivno preoblikovano prostorsko maso uglasil v lestvico osebnega zapisa sveta, v katerem živimo, in podob stvarne dokončnosti. Obenem pa se zavemo, da imamo pred sabo delo fotografa, ki spoštuje brezpogojnost mehanskega zvoka zapore zaklopke in pravil fotografske igre spontanih odločitev.
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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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