SUMMARY

Peter Sorel, was born in Budapest, and left Hungary after the 1956 uprising. He settled down in Los Angeles, and soon afterwards started working as photographer. He was photographing the shooting of many films. Recently an exhibition of those photos was opened in Budapest. Sándor Bacskai interviewed the photo-artist.

Another interview was made with Béla Kálmán. The American-based photo-artist was born in 1921. Having worked for many photographers, after WW II he opened his own photographic studio in Budapest. In 1956 he left Hungary. After his years in New York, he settled down in Boston, and was managing a prospering studio. Béla Kálmán’s interviewer was Sándor Bacskai.

The Escher Károly Alkotó Csoport (a group of photographers) made its debut with a show Recent Past last August. The list of members of the group would be very long, therefore, just a few names are given here such as Sándor Bojár, Károly Hemző, Peter Korniss, Éva Keleti, Ferenc Markovics. Klára Szarka reports on the show.

Péter Tímár presents Csaba Barták student studying sculpture at the Academy of Fine Arts. Although he has not studied and did not want to become photographer, yet “he creates quite incidentally and apparently with ease anything that captures one’s spirit.” He is the son of the sun.

Photos of another young artist, Balázs Turay tempted Sándor Bacskai to make a tour in Budapest. “He stores away one scene after the other fitting noises, smells and atmospheres to them; then after awhile the pictures will slide onto one another...”

David Rosenberg visited the Polaroid Gallery. Gábor Pfisztner tries to convey the atmosphere of the portraits. “My eyes are scanning your face. To me it is like a map... you are infinite.”

An exhibition of Zoltán Szalay opened in the Hungarian National Museum and at the same time his first album was also published. Zoltán Szalay is never hunting for a sensation, says Marianna Kiscsatári in the article, his players and objects have past, present and future. The moment caught on the photo may display the whole event that happened.

Does the lyricism and search for stability represented by Magdolna Vékás have any actuality?, Ibolya Cs. Plank is asking when reporting on Vékás’ exhibition Window and Lights. “It definitely has if it is accompanied with eyes open and playfulness” is the answer to the poetic question.

We are all anonymous – András Bán declares in his essay devoted to István Soltész an amateur photographer in Tibolddaróc. Soltész’s mentality is that of an ideal anonymous photographer. He is one of the anonymous local chroniclers whose photos “reflect the feeling of neither reconstruction nor construction,”

“Despite the camera, personal vision is the genuine starting point. The result is alchemy: from origin, feeling, tradition and from the denial of all of it. “Sensibility and voyeurism” cites György Szegő Inge Morath. Szegő reports on a show displaying the Austrian artist’s best “Magnum” photos opened in the Vienna Kunsthalle.

In an essay “The saint’s driver”, Ibolya Cs. Plank reports on Art Historian Kornél Divald (1872-1931) son of Károly Divald photographer, on his researcher and collector work when in the early years of this century he was photographing architectural and other monuments in Szepes and Sáros counties N-Hungary.

Etelka L. Baji and Judit Varga: The albums open wide. Photographs collected since 1880 in the Library of the Hungarian Academy of Fine Arts. The authors report on one year exploration work; the eight thousand albums contain photos of Budapest, of works of art and others immortalizing the history of the Academy.

In the “History of the Hungarian Photographic Industry” Part 5 Zoltán Fejér talks about an odd thing that although it was sincerely planned to manufacture photo cameras in Hungary, the plan has never been realized.