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Despite the results of the Crimean War and the Paris Peace Treaty (1856) British influence in the Principality of Serbia could not have been extended to the point of competing with that of Russia. British consuls soon perceived that the activity of Russian agents was aimed to gradually under-mine the 1856 Treaty and disturb Turkey. Neither Fonblanque, nor Lytton or Longworth were diplomatically weighty enough to impede Russian influence. ; Odredbama Pariskog mirovnog ugovora zaključenog 30. marta 1856. godine je između ostalog, ukinut ruski protektorat nad Kneževinom Srbijom. Srbija je ovim Ugovorom, stavljena pod kolektivni protektorat velikih sila. Međutim dugogodišnji uticaj i podrška Rusije Srbiji ostavili su duboke tragove u političkom mišljenju priličnog broja srpskih državnika i, možda još dublje urezali osećanje duga i nade u svest srpskog građanina i seljaka. Britanska politika očuvanja Turske Carevine je, pak, diktirala britanskim konzulima u Beogradu Fonblanku i Longvortu rezervisanost pa i protivljenje težnjama srpskog naroda i saradnju sa austrijskim konzulom i beogradskim pašom. Takva politika nikako nije mogla biti bliska ni srpskim političarima ni srpskom običnom čoveku pa su njihove želje, još uvek, tražile oslonac u Rusiji i dosta ređe, u Francuskoj. Zbog toga britanski konzuli u Beogradu ne samo da nisu mogli da ostvare svoj stalniji i stabilniji uticaj u srpskim političkim krugovima već su, često, bili na mukama prilikom prikupljanja osnovnih pouzdanijih informacija. Ni Fonblank ni Longvort nisu uspeli da organizuju mrežu sigurnih i sposobnih saradnika preko kojih bi suzbijali ruski uticaj u Srbiji. Nije zato neobično što su ova dvojica diplomata, ponekad, videli ruske prste i tamo gde ih nije bilo. Ipak, njihovi izveštaji nose dovoljno pouzdanih podataka za stvaranje slike srpske političke scene na kojoj se ruski uticaj, još uvek, veoma jasno vidi.

Little is known about a Russian photographer, Ivan Groman. His photographic work, originating in 1876 in the Principality of Serbia, was used repeatedly for illustrations, but has never been thoroughly analyzed as a historic document. Although his photographs, kept in the Archives of the City of Belgrade, the Museum of the City of Belgrade, and the Military Museum in Belgrade, may not represent his entire photographic opus, a thorough analysis of his work may serve the purpose of seeking for the message, and therefore for the aim of his work and stay in Belgrade. A small number of his photographs of Belgrade, constituting small series ('stories') of a relatively small area, clearly lead to the conclusion that I. V. Groman was not just a photographer – documentarist with an unquestionable and subtle artistic sense, but also a perceptive and possibly experienced "documentarist on a military mission". It does not diminish the significance and value of his photographic work in Belgrade. Quite the opposite. His opus gains the documentary vigor of the travel journal photo-story, which in its expressiveness does not fall short of the travel journals of a more traditional kind. ; Ruski vojni fotograf Ivan V. Groman je tokom srpsko-turskih ratova 1876-1878. godine snimio niz fotografija u Beogradu. Njihovom analizom nedvosmisleno se došlo do zaključka da one nemaju samo dokumentarni značaj već da je cilj njihovog stvaranja bio i vojno- obaveštajni, to jest da je I. Groman uvežban "dokumentarista po vojnom zadatku".