Sometimes, on rare, rare occasions, you come across someone in the annals of history who utterly transformed the place in which they lived. In the Malá Fatra National Park in Northern Slovakia, that person was Milan Šaradin. The rediscovery of thousands of Šaradin’s photographs by his granddaughter Maria Clapham and her husband, Mike, prompted them to shine the spotlight on this influential individual once more. Over the last few years the couple have been creating a fabulous online resource on Šaradin and his images, which stunningly document life and traditions in rural Slovakia over a seminal period in the country’s development between the 1940s and 1980s. Here, Mike Clapham tells the fascinating story…
Words by Mike Clapham
It is best if I begin by telling you a bit about myself, and my wife, and how the discovery of thousands of the famous Slovak photographer Milan Šaradin’s long-lost images, many in reels of film stashed away in storage chests, took place…
I was born in Sussex in the UK, in a small village called Framfield and never left that area, apart from occasional trips for work. But I have always had a very keen interest in photography, with a particular leaning towards blank-and-white images, and spent much of my early life in a darkroom. This fascination has remained with me to this day, along with the transition into digital photography and all that it entails. My other great interest has been computing, and I have been building my own systems for the last two decades. Both passions would prove very useful when it came to what my wife and I would unearth years later in a small town in the heart of one of Slovakia’s most beautiful national parks.
My wife Maria is Slovak, born in the mountain-rimmed Vrátna valley in Malá Fatra national park. Her childhood, as one might expect in such a stunning part of the world, was, she assures me, idyllic. She lived in a chalet next to the Chleb chairlift, learning to ski from a very early age and passing a great deal of time in the surrounding mountains cultivating a knowledge of the area that would likewise prove to huge value to the discovery.
In 1998 she left Slovakia for England to work, and this was how we met. Whilst we remained living in the UK, we regularly returned to Slovakia to see her family and it was during one of these visits that I began to learn about her family and in particular her grandfather Milan Šaradin (See Milan Šaradin: Life at a Glance, below).
Everything about the man was interesting but the thing that caught my imagination most of all was that he had been a famous and prolific photographer in Slovakia, with an emphasis on this area from the mid 1930s till he died in 1984.
The discovery that I made was that literally hundreds of his photographs were still around with, most importantly of all, boxes of negatives which had never been seen by anyone – not even by Šaradin himself – because they were still in rolls in the cans, developed but not printed. For a lot of people, this would have been an astounding find, but for a photographer like myself, nothing short of amazing.
Now we fast-forward to 2007, when Maria and I began to build a chalet to live here in Terchová (see Modern-Day Malá Fatra Snaps, below) and a couple of years later we left England and moved here permanently to discover all about this incredible country and its people.
Taking on the Past
By 2012, we had our life over here sorted out. And then came a different sort of sort-out: we approached Maria’s grandmother to ask if we could take all the negatives and photos that belonged to her husband so that I could scan them in to my computer with a view to making a website, putting them there for everyone to see. This she was happy for us to do, so we gathered up all the boxes and took them to our chalet to begin the work…… oh, if only we had known what we were taking on!
Just imagine how it was for me to open the boxes and find inside hundreds of envelopes and reels of film. This amounted to thousand upon thousand of negatives, in singles and strips, with barely any explanatory information. You have to realise that these negatives had been sitting in a cellar since 1984: people had been allowed to come and look for the odd picture once in a while, so they had basically been disrupted from any order that might have existed. Because of their many years in the cellar many were damaged by damp, which rendered them unusable.
So I decided to just start salvaging what I could, first scanning them and opting to sort them out by adding information as to the locations and people in the pictures afterwards. It soon became apparent that there were many more than I first thought. We have never counted them but by a rough estimate we think there are approximately 8000.
For those who are interested in the technical side of the scanning I will list the equipment and software used at the end of the article. (see Tech Spec: How Šaradin’s Images Were Preserved, below).
End in Site: Towards Making the Preserved Images A Reality
So I embarked on what turned out to be a long, long job: nearly four years to be exact! Nevertheless it was a magical time. Every time I put new negatives in the scanner I would find something that was too good to keep to myself and would call Maria to have a look. I think when I reached 2000 images I decided to start sorting through them more intensely and publish them on a website – at first it was my own site, and then I purchased the existing site in Milans name. And this, at long last, is the result: www.milansaradin.com.
Anyone who has ever done anything like this will know how many tasks are involved. First we had to identify each image, who or what it was and when it was taken. Very few of the images came with any accompanying detail: no locations, no names and worst of all no dates of when they were taken.
I believe this part of the process took the longest to do. It was necessary to ask family, friends and indeed anyone who could give us any information. For me this was a great learning curve. I learnt the names of mountains, valleys, villages, towns, people and events that I would never have known had it not been for this discovery. Some people even hinted that I probably knew more about the area than those who lived here. I don’t know about that but I gained a lot of knowledge about this place I live in thanks to Milan.
Eventually, anyway, we gained a database of pictures. We put most of them online and continued to scan the rest. To date I have around 4500 black and white plus 500 colour images on my computer and I estimate this to be roughly 60% of the total number of negatives – the best quality ones to be precise. On the website at the moment I have nearly 3500 pictures but I am in the process of redesigning – with the end intention of having 5000 there for all to see.
Šaradin’s Significance Today
Our thinking has always been that these photographs are of such historical value to the area that they need to be seen by everyone from the people who lived during the period the images cover down to the younger generation who never saw what it was like then. But the body of work as a whole is of immense value to a wider demographic. It spans a huge chunk of Slovakia’s recent past from the 1940s through to the 1980s, and shows unusual glimpses into how people lived, worked and played: an important insight not only into the times but also, in a country as seldom documented or championed as Slovakia is, an insight into the foundations of Slovak culture during almost the entirety of its time under Communism. All this feels, in short, like a glimpse into something which would otherwise forever have remained hidden.
Milan Šaradin (1910-1984): Life at a Glance
During his life Šaradin was a keen photographer, but also a campaigner for the conservation of the environment, civic developer, sports personality and publicist.
1930 – 1937 He worked as a Typographer in Zilina for a print company called Krano.
1939 – 1944 He was manager of a Malá Fatra mountain hotel in Štefanová, during which time the hotel was burned down, amongst many others in the area, by the Germans.
1944-1947 After the war he organised the rebuilding of Malá Fatra’s most popular mountain house, Chata pod Chlebom (Chalet under Chleb).
1947-1962 From 1947 he organised the building of the main chair lift in Vrátna and also played a role in the construction of other lifts in the Vrátna area. Then for a time he was the man in charge of the area’s chairlifts. He co-founded the Mountain Rescue Service in Vrátna, which became the Malá Fatra region’s key Mountain Rescue base. Mainly due to his dedication and love of the local area, he founded the first tourism centre for Terchová and its surroundings.
1962-1967 He was so successful in promoting the area that Vrátna was added, in 1962, to the international category for tourism and five years later (1967) he helped Vrátna to become an Area of Outstanding National Beauty and ultimately the National Park (národný park) of Malá Fatra that exists today.
Besides his many publications, in 1996 during Janošíkové dni (an annual festival in honour of the region’s fabled outlaw, Juraj Jánošík), Šaradin’s work was included as part of the Vrátna – Malá Fatra exhibition. A book was also produced, “Veď je tá Terchová” which contains many of Milan’s photographs. He was also an active member of a climbing club, IAMES, and he received many awards for his work with the mountain rescue service, tourism, skiing and climbing.
The majority of his work was dedicated to this beautiful area that he loved. “Janošik’s country fulfilled me and gave me the best days of my life” he is quoted as saying. “It gave me something to admire every day.”
Modern-Day Malá Fatra Snaps
If people are interested they can see photos of the construction of our chalet on my website. We also detail a lot of what we do over here in Malá Fatra on our blogs, Mikez Blog covering general information and Marias Blog on which she talks about beekeeping and crocheting in Slovakia.
The Tech Spec: How Šaradin’s Old Films Were Preserved
People always seem to ask how things are done so this is the techy side of the discovery.
I scanned the negatives using an Epson Perfection V700: this is a flatbed scanner with film holders and produces very good results. The scanning software is Lasersoft Silverfast Studio Ai Version 8.5.
The negatives get scanned into my Homebuilt PC. The software I use to process and archive the images was originally Adobe Lightroom but now I use Capture One Pro.
I have not retouched the images in any great amount, because they varied in condition and colour. One thing I did to them all was de-saturate the colour: thus leaving them in pure black and white and crop if needed. However I have kept the original scans before any adjustment was made (much like keeping the negatives or RAW images of today).
I am in the process of rebuilding the website with the intention of putting all or most of the images online using the Genesis framework which should allow faster access.