Photographer Rino Efendić’s artistic activity, initiated in the late 1970s, is characterized by a straightforward photographic process, unburdened by excessive stylization, spectacular motifs or attempts to fine-tune or retouch his works by means of different lab techniques. During a trip to Germany, while he was still a high school student, he discovered the magic of the then-popular Polaroids, opting for this “fast technique” that represented a sharp turn in the perception about the creation of the photographic image, edging closer to the perceptions of today. Efendić remains consistent in his use of Polaroids all the way to the early 2000s, recording, as he calls them, “tiny landscapes” – suggestive vignettes imbued with a palette of soft colours, free from sensationalist reality.