Abadžić nas kao malo koji fotograf podsjeća na subjektivno vrijeme Rolanda Barthesa, na razumijevanje fotografije ne kao kopije stvarnog, već uobličene prošlosti stvarnog.

Po čemu je to, dakle, posebna ili drugačija fotografija Stanka Abadžića?
Njezina je posebnost, odgovorimo li jednom rečenicom, u negativu prvoga dojma. Taj prvi dojam estetičnosti i dokumentarnosti ustvari je nostalgija i dekadriranje realnosti. Uostalom, Abadžić i sam svjedoči tu pretpostavku jednim od zapisa u svojim dnevničkim bilješkama – “Ja se ne mogu tako lako pomiriti s tim da nestaju ambijenti koji su trajali godinama i činili ljude sretnima”.
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Like no other photographer, Abadžić seems reminiscent of Roland Barthes’s “subjective time”, of the understanding of photography not as a copy of reality but a shaped history of the real.

What makes Stanko Abadžić’s photography special or different?
Its distinctiveness, if the answer is a single sentence, lies in the negative of the first impression. That first impression of aestheticism and documentary quality is in fact nostalgia and the de-framing of reality. For that matter, Abadži} himself has testified to that hypothesis in one of his diary notes: “I simply cannot easily accept that ambiences which were making people happy for years are disappearing.”
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