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Tamás Féner Since he was decorated with an EFIAP title in 1971, he received a number of prestigious Hungarian prizes. He was one of the preeminent characters of photographical life between 1970 and 1990, a leader of the Photoreporter Faculty of Hungarian Journalists’ Association. Meanwhile, he worked as a photo-reporter and a photo-editor as well in a number of prestigious places, like Film, Színház, Muzsika, or Képes7. Still the most important acknowledgement of his proficiency and artistic competence is that he functioned as the editor-in-chief of Hungary’s first and foremost photographical journal, Fotóművészet (Photographical Art). He is also remarkable as a teacher: he taught in the School of Journalism ran by Hungarian Journalists’ Association for years beginning with 1979. From 1992 he is running courses at Eötvös Lóránd University of Sciences, on the Faculty of Cultural Anthropology and the Media Faculty. He is currently a pensioner and a senior consultant at MTI, the Hungarian Press Agency. He was primarily interested in the world of artists in the beginning, especially the world of ballet. His best photographs of the subject are not images of stars, but portraits of dramatic power showing artists in the state of rumination or exhaustion. From the beginning of the seventies he began to take sociographic photos of analyzing and informative nature, with a distinct intention of bettering society. These pictures have gained him real reputation. He made a series portraying the life of gypsy ghettos, then he went on to document the life of a miner brigade – the Cserhalmi brigade, which became famous after his work. His method of work was characterized by immersion and full contact with his subject. This series broke new ground in Hungarian photography, not only with its choice of subject and approach, but with its ways of editing. No one before him in this country took so much pains poring over questions of photographical theory, questions of content and form, or the dramaturgy of a series. His first exhibition featuring color photographs – 1400 degrees – was an experiment, and a quest for the color scheme that best fit his temperament, his message, and his chosen techniq ues. His series documenting the life of Budapest Jews from birth to death, from New Year to New Year was first banned, then exhibited in the Museum of Folklore among great security precautions. From 1984, his interest turned toward the urban landscape, and made photographs of the demolition of the Óbuda Gas Factory and the Hortobágy, before inspiring dozens of imitators with his cityscapes of Budapest, Rome and Berlin taken with tilted horizons or edited with other unusual methods. Honors: Exhibitions at home: Exhibitions abroad Books:
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