The photographic career of Sándor Sára cameraman, film-director, has developed with the same rate, moving forward step-by-step, as his workmanship in filming. His entire life-work deserve a place in the history of Hungarian photography, starting from black-and white light experiments he made for an entrance-exam, gypsies, elderly town-people, through his social documentary from Transylvania, over his large-scale landscapes, to the portraits he took of his relatives and friends (or enemies). An especially interesting part of the volume is a series of study-photographs taken for film-scripts, film-ideas that haven’t ever been realised.
This dual affection raises interest in experts of film and photography at the same time, as they will be able to accurately depict the parallels and differences of cameraman-work and standing compositions, the connection between the two genres.