Nemanja Pancic
(Serbia)
(Serbia)
Documentary photographer, one of the founders of Kamerades
Nemanja is a Serbian documentary photographer and one of the founders of Kamerades. In his works, he wants to show the world as he sees and understands it.
"Migrant Crisis", Serbia, 2016
— How did you get the idea to unite photographers into one group?
— The founding of the collective was related to the need for a platform to show the
work that could not find its place in the printed media in Serbia. After several
months of informal gatherings, in which dozens of photographers participated, we
have remained close to the idea of uniting. At these gatherings, the photography
and the possibility of association were discussed. The outcome is the formation of
the collective Kamerades and creation of the web site that we use as a platform
where we present our ideas and work as we want.
work that could not find its place in the printed media in Serbia. After several
months of informal gatherings, in which dozens of photographers participated, we
have remained close to the idea of uniting. At these gatherings, the photography
and the possibility of association were discussed. The outcome is the formation of
the collective Kamerades and creation of the web site that we use as a platform
where we present our ideas and work as we want.
— Did you choose them by professional or other criteria?
— The collective was formed by 6 photographers with an approximately similar and
equal need for narrative in the form of visual expression. I would say that the
criterion was a wish for a platform on which the work of the author would be
presented.
equal need for narrative in the form of visual expression. I would say that the
criterion was a wish for a platform on which the work of the author would be
presented.
"Between Euromaidan and Referendum", Ukraine, 2014
— Does each photographer choose a series of
photographs himself or is it done collectively?
— Usually, every one of us chooses their photos and creates a narrative according to their affinities and sensibility, but often consulting each other. We are open to commenting on each other's work and suggesting in which direction the story should be developed or in what way the editing of the story should be made. I feel free to say that it is most important for me to first hear the criticisms and suggestions of my colleagues, members of the collective, because I have the greatest confidence in them.
"Little Survivor", 2012.
— How did you find this boy?
— Photo "Little Survivor" was created at the beginning of 2012 while I was on a task, working as a staff photographer for a big media house in Serbia. I was sent to the field to photograph that boy leaving the hospital after he survived the attempted family suicide by jumping from the 6th floor and becoming an orphan after the tragedy.
— Have you thought that this particular portrait is worthy of a prize?
— I received 3 awards for this photo. One international — World Press Photo 1st prize in category Observed Portraits, the most important in my career, and two local awards. Without any expectations, I sent a photo to all three competitions. At the very moment of the creation of this photograph, I was at a stage in my life when I decided I wanted to have a child. By making such an important life decision, I became much more sensitive. While I photographed this child, my thoughts were focused on his future and on the fact that he would have to go through the turbulent life-span to make up for this horrible tragedy that struck him.
— Do your photos help in solving the problems of the heroes of your works?
— I do not imagine that my work can solve someone's problems or can change the world we live in, but I sincerely hope that it can trigger a reaction and encourage an individual to improve the world around him.
— I do not imagine that my work can solve someone's problems or can change the world we live in, but I sincerely hope that it can trigger a reaction and encourage an individual to improve the world around him.
— Your photos are often black and white. Why?
— The black and white approach to photography is much closer to my personality and way of thinking. There are not some big rules here, at least as far as I'm concerned.
— The black and white approach to photography is much closer to my personality and way of thinking. There are not some big rules here, at least as far as I'm concerned.
"Baba Mondi", North Macedonia, 2010
— Can a documentary photograph be objective?
— It's hard or almost impossible to be objective. In my opinion, if you stage the setting or choose what you are going to photograph, you lose on objectivity. An objective or subjective approach depends on the type of project I work on. If I'm working on a project which has huge significance both locally and internationally (eg
migrant crisis) then I seek for an objective approach. If I am working on a personal project by which I am trying to express my own idea or emotion then the approach
is both personal and subjective.
— It's hard or almost impossible to be objective. In my opinion, if you stage the setting or choose what you are going to photograph, you lose on objectivity. An objective or subjective approach depends on the type of project I work on. If I'm working on a project which has huge significance both locally and internationally (eg
migrant crisis) then I seek for an objective approach. If I am working on a personal project by which I am trying to express my own idea or emotion then the approach
is both personal and subjective.
Stay tuned:
Web-site: http://kamerades.com