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378 Barbara Derler years earlier and, to some extent, photographic dynasties have been established, which are still part of the cultural memories of Bulgaria and Serbia. On the contrary, in Sarajevo not a single photographic dynasty is evident before 1918. In the future, it will have to be explored why and under which circumstances local studio photography developed later here than in other comparable cities. When talking about visualization processes and the perception of the Sarajevans, we should also take a look at the cities" population development in order to understand the social structure. From 1879 to 1910, the percentage of the Muslim population in Sarajevo decreased from about 70% to about 36% (Landesregierung fiir Bosnien und die Hercegovina 1880, 1896, 1912). In contrast, the percentage of the Christian population increased during the same period from around 20% to around 51%. Especially the growth of the Catholic people was robust, from 3% of the total population in 1879 to around 35% thirty years later. The Jewish population increased somewhat more slowly, from 10% to 12%. Other religious affiliations played a marginal role in 1879 and represented only around 1% of the total population in 1910 (Ibidem). This shift of population by religious affiliation reflects a shift in social structure. The political change, which was triggered in 1878, altered the elites: Muslims made up the majorities in almost all Bosnian cities, but they were also most affected by the economic stagnation at that time, which turned them into the losers by the end of this transition period. The Muslims lost their position of advantage and saw themselves on a similar political and social level as the Christian population, which, in contrast, experienced gradual advancement (Dizaja 1994). It can be attested that, after 1878, the new elite represented men from all religious groups. As a matter of course, immediately after the occupation, the elite was formed by public officers from Austria-Hungary, but later on, locals and members of all different groups would form the bourgeois elite in the city, too. Consequently, it is an interesting question how the different elites are represented in studio photography, which was in its early years exclusively a bourgeois phenomenon. Concerning Sarajevo, this may mean that all three elite groups (Muslim, Orthodox, and Catholic) may have accepted and used photography despite religious affiliation. However, for the period of examination I was able to identify only 129 studio portraits out of 800 photographs. Since portraits were created primarily for private purposes, it may not be surprising that such a small number of images had found their way into the archive. A large number of photographs is probably still in private hands." But it could also imply a skeptical approach of the Sarajevans toward photography. !! Around 1878, a large number of Bosnian Muslims left the country (DZaja 1994: 60). Most probably I will find private photographs of former Muslim representatives of the Ottoman Empire in family albums in Turkey.
