The 50th anniversary of the Lithuanian Photographers Association is a perfect occasion for us to talk with those who contributed to its establishment and development. This is our conversation with Stanislovas Žvirgždas, photographer and former chair of the Association (1992–1996).

How did you end up working in the Society?

It took me a while to get there. I started out as an apprentice at the Personal Service Centre, and two years later I rose to the post of manager. My workplace had a bureau of photo reporters where we photographed weddings, christenings, and other occasions. During my work there I acquired a highest qualification of an artist photographer.

Once my workplace was visited by the Society's Deputy Chair Algis Semanavičius. We had a long conversation that concluded with my being invited to work as the head of creative workshops at the Society. The next day I went to Sutkus who, instead of conducting a job interview, asked me to print six photos so he could see if I was worthy of the job. I passed the test and worked in the Society for more than 17 years.

What was the most memorable thing from your work in the Society?

What struck me from the very start was that all the members were like one big family. We would visit exhibitions in every section: Klaipėda, Šiauliai, Marijampolė, etc., and we'd always meet everyone there. We tried to learn as much as we could not only from each other but from our colleagues abroad. The latter aspect fact is evident from both the record of our business trips abroad, but also from our huge library. I remember that, during our trips, we'd spend the bigger part of our time abroad by trying to acquire the books Sutkus had ordered. On our way home, our train cabins used to be so packed with books that we'd barely have any place to sleep.

What made you decide to run for the Head of the Association in 1992?

My colleagues encouraged me to put forth my candidacy. However, if I'd known what waited for me, I wouldn't have agreed to do it. First of all, when I took the post, I discovered that the organisation was on the brink of bankruptcy. It took us a long time to change this situation. We were criticised for not publishing enough, for not growing, but at that time we simply had no means to do that. Strictly speaking, as a leader, I was only able to do my duties in 1995, which was one year before the end of my term. However, despite the dire situation, show openings never ceased.

In fact, the financial situation was so dire that every news about the rise in utility tax terrified us. We went to the Ministry of Agriculture where they told us that, until the economy was still weak, culture was not among their priorities. To which I replied that economy is meaningless without culture, and that all progressive countries start with culture. The Ministry officials did not like that. We unified with other organisations and went to the Ministry again, and only then politicians started to give more consideration to our concerns.

I also had to expand my knowledge base. I remember when, on a second day of my term, me and the bookkeeper sat down to talk about the organisational finances. As soon as she started using those economic terms to describe the situation, I had to interrupt her, run to the book shop and get myself a bookkeeping primer. Three days later we spoke on equal terms.

Of course, I need to mention that I was never on my own. Among all the sections that supported me, Kaunas section was the most significant. I couldn't have managed to run this organisation without the help from Aleksandras Macijauskas. We dragged the whole thing like a pair of horses.

What do you think about the Association today?

I've got mixed thoughts. I think their current course is a bit too single-sided. We shouldn't forget that one of the founding principles of the organisation was to represent all forms of photography. Of course, we have many interesting exhibitions, but still, I think there should be more variety and tolerance toward different forms of photography.