Should I decide to talk about the photographs by Boris Cvjetanović within certain formal categories, I will state that they exist at the section between a document and a portrait. Document, because of the rhetoric of the medium, portrait, because of the rhetoric of the image. The photographic image, namely, appears always in the context of the predicate photographed. Done. This act is made apparent by the visible black edge frame of the negative in blow-up which guarantees that the scene in the frame is identical to the one recorded by the eye of the camera: with no further intervention. However, what I am interested in here, is the previous intervention – the selection of the motif.