Abadžić nas kot le redkokateri fotograf opominja na subjektivni čas Rolanda Barthesa, na razumevanje fotografije ne kot kopije resničnega, ampak kot upodobljene preteklosti resničnega.

Po čem je fotografija Stanka Abadžića posebna ali drugačna?
Njena posebnost je, če odgovorimo z enim stavkom, v negativu prvega vtisa. Prvi vtis estetskosti in dokumentarnosti je pravzaprav nostalgija in dekadriranje resničnosti. Sicer pa tudi Abadžić sam izpričuje to izhodišče v enem od zapisov v svojih dnevniških zapiskih: “Preprosto se ne morem sprijazniti s tem, da izginjajo ambienti, ki so obstajali leta in osrečevali ljudi.”
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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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