Landscape art and moods from Hungary, through the camera lens of Hungarian photographers.
„Minden fotográfia időparadoxon. Időn belüli időtlenség, mulandó örökkévalóság. Fényképezni nem más, mint kivonni a valóságból az időt egy pillanatra, majd visszaadni ezt a pillanatot az időnek.”Attila Bartis – Az eltűnt idő nyoma
The photograph was taken by Ferenc Czuczor in August 2018, when the low water levels broke a new record across the country owing to the hot and dry summer. This is when deer rutting season begins in the Gemenc area – something the photographer has been capturing in the forest for years now. This time, however, not only the wildlife showed a different face, but the backwater too, which created unprecedented abstract forms and colors as a result of the tide.
This aerial shot was taken by Tibor Lakatos in the summer of 2019 at János Hill, from Erzsébet observation tower, where he hiked with his wife and daughter. The tower is also the highest point in Budapest, offering a splendid view of the capital beneath and the neighboring hills of Buda. The panels standing out amongst the trees remind him of giant robots, reaching for the last rays of sunshine in the summer heat.
Ákos Dornics named this photo “Life in the Forest of Siófok.” It was made on a freezing morning in December, when he was looking for deer and other wild animals in one of his favorite hunting reserves. As a result of his patient waiting, a fallow dear suddenly appeared before him, which has remained a fond memory for the photographer ever since.
This Balaton still-life was photographed by Bence Kondor. The shot was made in Balatonalmádi, after a hitchhiking tour in Europe, en route to New Zealand (again by hitchhiking) for another three months. He always visits Lake Balaton before these long trips, and this photograph demonstrates why we love it so much perfectly.
The photos are part of Péter Trembeczki’s series titled “Victory.” He started looking up and photographing abandoned buildings in 2018, searching for what they had in common. Erosion and alterations put buildings in an alternative and many times grotesque perspective. And although their perception is always visceral, being a subject of collective memory, they are still telling examples of the socio-political psyche of a nation.
Kriszti Andrási’s photo was made in Zebegény on August 20 last year, where she hid from the masses arriving to Budapest for the occasion. The analogue shot was inspired by Martin Parr’s Life’s a Beach photo series.
This photo is part of Dániel Kovalovszky’s series titled “Green Silence”; namely the first and eponym piece of the series, made in Soroksár, back in 2011. The forest portraits intend to display the ancient calmness and silence inhereint in woods, from which we can always recharge ourselves if we feel that the challenges and issues of the man-made world sneak upon us.
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