
A country both beautiful and wild, communal and contradictory. A coastline of glittering golden beaches and indulgence, and at the same time a land of harsh mountain ranges where bears will happily turn you into Ćevapi. A dark and rich history, a bright and even richer future. This, and much more besides, is Shqipëria.
I’ve got a unique optical layout and a silhouette so distinctive you can spot me from a distance. My construction is absurdly complex and notoriously temperamental. I’m a portrait virtuoso, lurking modestly in the shadows but towering over many of my peers like a smug diva. I am Unar. Portrait Unar.
They were forged early in 1873 and 1883 by old masters in faraway Dallmeyer. One remained in its island homeland, the other travelled to the Apennine Peninsula — yet both ultimately found their way into the hands of men with distinctly refined photographic taste. A scarcely believable century and a half later, they were reunited in the hands of a man of equally voracious optical appetite — and idleness most certainly does not await them.