János Eifert - Photographer

Everest International Digital Salon 2017 – Fotoclub Siliguri, West-Bengal, India, 2017. február 20.

Everest International Digital Salon 2017 – Fotoclub Siliguri, West-Bengal, India

FIAP 2017/049, PSA 2017-046

Fotoclub Siliguri

H/O Nimai Chandra Saha,
52 CR Das Sarani, East Vivekananda Pally, P.O. Rabindra Sarani
IND-734006 Siliguri
West Bengal, INDIA


1. Mr. Amitabha Sil (EFIAP, ARPS, Hon.FICS, Hon.FPSBP, Hon.FCOS, Hon.FIP, ESFIP)
2. Mr. Suman Bhattacharyya (EFIAP, ARPS, RISF-2, Hon.FICS)
3. Mr. Gobinda Chakraborty (EFIAP, RISF-3, Hon.FICS)

Eifert János: Zsófi vörös drapériával /Nude with red Drapery (2014)



Eifert János: Tánc/Test/Tanulmány - Dance-Body-Study 2.


1978 Nyáj-Photo Eifert


Eifert János: Kertész keze / Gardener's Hand (Tarnaméra, 1978)


Eifert János: Akt-tanulmány / Nude Study (Budapest, 2013)


Eifert János: Vágtató lovak a hóban / Galloping horses in the snow (Bocska,


Kiss Zsolt: India, az árnyékok színei / The Colours of Shadows, Budapest, Kerengő Galéria, 2009. március 17 – április 6.

india-kiall_39831    Budapest, Nemzeti Táncszínház, a Kerengő Galéria 72. kiállítását, Kiss Zsolt: INDIA, AZ ÁRNYÉKOK SZÍNEI / THE COLOURS OF SHADOWS c. könyvbemutató-kiállítását nyitom meg. A fotóalbum a Magyar Fotográfiai Múzeum kiadásában, Kincses Károly szerkesztésében, bevezetőjével és Farkas Antal Jama tervezésében jelent meg. Sok jó kép – sok jó ember…


Zsolt Kiss: India. The colours of shadows.
ZOOM Exhibition in the Kerengő Gallery, March 2008
…It was eight o’clock in the evening when I arrived at Delhi airport. I was met with stifling heat and a huge crowd of people. I had to fight my way through hordes of taxi drivers, peddlers and beggars. I stumbled among crumbling houses, piles of rubbish, sleeping people and dogs. On seeing children lying on the ground I remembered my own. We were born in a good place after all, I thought at the time. Cows searched for something edible among the rubbish. The mouth-watering scent coming from street vendors and the strange and unique smell of public toilets and the ever-burning incense penetrated everything.

It took me some time to discover the depth under the surface and the features of an order developed throughout millennia, in the chaotic tide of crowds weltering in the streets, the constantly honking and smoking vehicles. Before long the crowd softened to peaceful people – “The colours of shadows” became gradually visible for me.

By the end of my stay there, I understood that it was a world based upon a peculiar ancient culture that I had become part of for a short while. The efforts made to “civilise” it have, fortunately, remained unsuccessful so far. Satellite television and the increasing number of tourists nowadays might impose a greater danger than colonisation did. A torrent of disturbing scenes, strange values and emotions swoop down upon people exposed to the aggression of western cultures. I hope that this people will even survive the challenges of globalisation, and INDIA will shine in the light of its ancient culture after centuries… (Zsolt Kiss)

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Pramita Bose: Lensman displays unusual genre – The Asian Age, 2008. április 27.

The Asian Age, Sunday, April 27, 2008. A többmilliós példányszámú napilap egyszerre Delhiben, Mumbai-ban, Kolkata-ban, Bangalore-ban és Londonban jelenik meg. Megtisztelő tehát, hogy egy magyar fotográfussal ilyen terjedelemben foglalkoznak.


THE ASIAN AGE, Sunday, April 27, 2008 – Delhi, Mumbai, Kolkata, Bangalore, London

Lensman displays unusual genre



„I inculcate a deep interest in delving into the multifarious aspects of life.

I guess I am a gregarious person by nature and love to remain connected with people all  the time.

Observation is the key requisite to a shutterburg’s signature vignettes.”


He is a Lensman of a different kind. Projecting his eyes as a camera, he exercises its mechanism to click photos and imprints their images on the brain. With a keen eye for detail and a profound sense of aes­thetics, he gropes for every minute grain on the frame to freeze it with effortless ease. Meet this down to earth shut­terbug from Hungary — Janos Eifert. One of the most outstanding photographers of, Europe, his creative collage ranges from the bizarre, beautiful, serepe, exotic, life­like, full of motion, authentic to the uncanny. Via the tech­nical route, this low-profile artiste develops his pictures with the aid of digital pho­tography into rare specimens of artistry that can only form a collector’s item.

Recently, Kolkata’s presti­gious art gallery – Academy of Fine Arts played host to the maiden solo exhibition of Eifert’s esoteric array in India. Having introduced the unusual genre of “image lan­guage” in his unique photo­graphic slides, Eifert makes his style come alive through grotesque expressions and compositions on natural locales and human emotions. Visibly excited about his debut display in India, Eifert earlier shared from the show­case venue: “The floor is open to all kinds of criti­cisms. You can never predict your audience’s judgement. Positive or negative, a spon­taneous response is always welcome. That’s the accom­plishment of a creator. I am personally grateful to veteran photographer Mala Mukherjee for this heart­warming invitation to exhibit my collection. Kudos to her initiative to lend me this opportunity to discover the varied facets of India and absorb them in my album of fond memories.” That the photographer has proven his mettle through his myriad snaps mounted at the gailery is everybody’s knowledge. But what astounded the onlooker’s attention is the flurry of striking stills that cuts across horror and dream imageries galore, landscapes and snow-clad vistas. There’s an element of style, character and inspiration in the row of snapshot splen­dour. Add to this, a bevy of dancers in stylised postures, pirouetting movements, choreographic pieces or a clown’s emphatic reaction inside a circus rink all spade out splash of radiant colours and black-n-white brilliance. “To me, real pho­tography is all about the cre­ative evolutions evoked in a series of black and white tones. But having said that, the colourful filaments are best scooped out from the treasure trove of fauna and floral beauty surfed within the bowers of nature,” he explained the subtle nuances of the photographic art.

“I inculcate a deep interest in delving into the multifari­ous aspects of life. I guess I am a gregarious person by nature and love to remain connected with people all the time. Observation is the key requisite to a shutterbug’s signature vignettes,” he made an assessment.

Seldom with a scope to throw a glance at the pho­tographs of reputed Indian artistes, Eifert infonned that till date, he has seen only a few good images of the illus­trious Indian creations. “Well, my access to the Indian archival tnaterial is minimal to say the least. Merely a string of pressreport pictures, portraits, still life snaps, et al sums up my lore on the Indian lens. But for those not in the loop, let me just drop a titbit that all Hungarians cultivate a keen knack far kowing Indian history, art and literature,” he revealed_ “There’s an ingrained ten­dency to fali back on the tra­ditional techniques, but the young talent pool of Hungary nowadays try their skilled hands at blending the old school of legacy with modern modules. In my opinion, the hi-tech tools can always come handy as an advanced accessory, with the help of which, the refined quality and crystal-clear texture the picture can be improved by several folds, but not the much-needed aptitude for adroitness and aesthetics that is essential for a photograph­er’s portfolio. That is only attainable via one’s heart and brain,” he concluded.

Having pioneered the con­cept of “image language”, the proficient snapper with a masterly precision analyse “Image language in photoo­raphy conforms to a differewt genre that cannot be cos­trived alone. It is best non­jured up in a clutch of li&e­minded people. Then the images convey a message at its best.” Incidentally, a coam­pilation of photo-history o~oe the area of aesthetics and techniques based on the nude shots of human figures was organised in the famous Leipzig Book Fair this Marc in in Germany and Hungary.. “Among other photographers, the book also contains my own repertoire on the art of nude photography,” he signs out.

Pramita Bose

Papa, Sára, Kata, Andris indiai ruhában. Budapest, 2008. április 20.

Napló, Budapest, 2008. április 20.

Papa és gyerekei indiai ruhában (2008.04.19.)

Papa Sárával / Sara with her father (2008.04.19.)

Esti séta a Ganges partján, a Vidyasagar hídnál. India, Calcutta, 2008. április 19.

2008.04.19.Híd-a-Ganges-föl 2008.04.19.-Ganges-part-Cal

Esti séta a Ganges partján, a Vidyasagar hídnál. (India, Calcutta, 2008. április 19.)


A közeli parkban éppen labdajátékokkal szórakoznak a fiatalok. (Eifert János felvételei)

Elmosódott emlék, szigorú pillantással. India, Calcutta, 2008. április 18.


Elmosódott emlék, szigorú pillantással. India, Calcutta, 2008. április 18. (Photo: Eifert János)

भारत कलकत्ता, स्मृति की गंगा बैंक, गंभीर लग दिखाई देना चलना. यह एक कविता है? चित्र या कविता?

Séta a Dr. Meghnad Saha, Lake Terrace és Biplabi Ambika Chakraberty sarani környékén. India, Calcutta, 2008. április 14.


Szent hely a Lake Terrace és Biplabi Ambika Chakraberty sarani sarkán

Este a Lake Terrace és Biplabi Ambika Chakraberty sarani környékén

A Dr. Meghnad Saha utca környékén a kis üzletek késő este is várják a vevőket (Eifert János felvételei)

Sudeshna Banerjee – Sebanti Sarkar: Hungarian frames, The Telegraph Metro on Sunday, 2008. április 13.


The Telegraph, Metro on Sunday, 13 April 2008

A photograph by Eifert János

Hungarian photographer Eifert János is busy shooting what he intends to title the Calcutta Portraits. Calcutta, he says, is a city of dynamic faces and beautiful people.

“There is a wall close to where I live and one series I am working on is photographs of all that happens on and across it. The wall for me is a metaphor of life,” says Janos, whose work was on display at the Academy of Fine Arts from April 8-13.

As a host of city-based photographer Mala Mukherjee, Janos will be scouring the town with his camera till April 23. The Calcutta photographs, says Janos, will be mostly like a report unless he wants to experiment with them more later on. A number of photographs displayed at the Academy were of the “reporting” kind, recording the pristine beauty of the beaches and architecture of Arabia. Also on display was one of his first photographs, of the legendary mime artiste Marcel Marceau.

To Janos they are not as important as his montages. “Even in the first Marceau photograph I had taken with the classical film, I did a montage with another image. But in the last five or six years I find myself turning more and more to the digital medium to give the photographs the meaning and power I want.”

Janos, who started off as a folk dancer, visited India as part of a group in 1974. “I performed in Varanasi and Calcutta but I was not a photographer then,” he laughs.

(Contributed by Sebanti Sarkar)

Indiai napló, Calcutta, Aniruddha Mukhopadhyay, 2008. április 12.

India-Calcutta-Aniruddha-Photo: Eifert

Mala Mukerjee és Eifert János kiállítása, digiRáma műsora, Academy of Fine Arts Gallery, Calcutta, India, 2008. április 10 – 28.

Indiai napló, Calcutta, 2008.04.10.
Calcutta. Elkezdtem a tervezett munkát, történetesen az indiai művészek fényképezését. Kapóra jött, hogy a kiállításom megnyitóján megjelent Jogen Chowdhury, akit India leghíresebb festőjeként mutattak be. Műveit megismerve, ez egyáltalán nem volt kétséges. Nagyszabású kiállításait Japán, Kanada, Olaszország, Kuba, Belgium, Hollandia, Németország, Brazilia, városokra “leosztva” Delhi, Párizs, Berlin, Bombay, Amszterdam, Hong Kong, Szingapúr, New York, Bayreuth, Calcutta, stb. mutatta be. Stílusa kicsit emlékeztet Picasso bizonyos korszakára, de van benne egy kis Picabia, meg néhány francia impresszionista is. De azért lehet nagyon szeretni. Ő mindenesetre mustrára vette képeimet, és különösen a Világ végén, Fák tánca és a Hármasképek (Hommage á Dienes Gedeon, Pokol, Meg-, Kitalált Udvar) tetszett neki. Örömmel vette dedikált katalógusomat, és hosszasan elbeszélgettünk a diaporámáimról is. Gyönyörű albumai vannak, Malánál láttam is egyet. Bengáli nyelven íródott a szövege, amiből egy kukkot sem értettem, de a képei nagyon lenyűgöztek. És milyen jó arca van! Öröm volt fényképezni… A kiállításomat itt az Academy of Fine Arts Gallery északi kiállító-termében (Mala Mukerjee-vel társulva) sokan látogatják, és a folyamatosan vetített digiRama-műsoromat is nagy érdeklődéssel nézik. Ebben szerepe lehet a sajtónak is. A milliós példányszámú Hindustan Times még a portrémat is közölte, és  Meghna Mukerjee írásában (Dancing visuals and painterly images) külön kiemeli a Marcel Marceau, Hands of  the Gardener, Herd, Dream of Earth, At the End of the World című képeimet, és digiRámáimat is. Az a kötelesség, hogy a művésznek itt kell lennie a kiállításán, nemcsak teher, hanem ajándék is, hiszen így válik lehetővé a közvetlen kapcsolat a látogatókkal. Az emberek kérdeznek és kérnek, a Helyzetjelentést ma például többször kellett ismételni. Sokan kíváncsiak Magyarországra, és művészetünkről, kultúránkról elég sokat hallottak már. Volt, aki a magyar filmekért rajongott, és sorolta Fábri Zoltán, Makk Károly, Jancsó Miklós, Gaál István, Huszárik Zoltán, Zolnay Pál, Szomjas György, Bacsó Péter, Szabó István nevét…

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