Images images of Sándor Dobos are embracing - that cuts suitable for the creation of these images - despite the need for visual range to 30 degrees as in the panoramic images in general. The invention of Sándor Dobos is to compress the horizontal view, correcting the proportion side.
however, restricted to purely technical side to describe the work dell'auotre be limited, because the creativity of Sándor Dobos is mainly in the fact that the artist finds places after having been processed in panoramic photographs do not decompose, but become integrated composition. In his case, therefore it is not just a simple application of the method of "technical" of panoramic photography, but a search for a suitable place to the result. The transformation works when you can imagine what I photography I know what the results you get.
In this context, it is interesting that Sándor Dobos first look at places, countries and areas of the city inhabited by humans, whose atmospheres, even in their form of panoramic image, showing a precise search. These atmospheres are found in forms other than their original, sophisticated image created by the distortion. Man and the landscape penetrate and are formed with each other. The camera turns into the landscape like a complex story, the vertical axis and the expressive forms that remind us of El Greek, as well as the exciting curves of the horizon, leading us to the constant search for the beauty of the mountainous locations, also those where the landscape is plagued surface, eroded and cruel, lacking any quality that can serve the life of plants, animals and humans.
Sándor Dobos has demonstrated through his images that the panoramic photograph (and its computer equivalent) is also suitable for artistic expression. Personally, looking at his work I realized that "the panoramic photograph is much more than the creation of panoramic images on a strip of paper long and narrow. The natural rotation of the panoramic camera quality is so far from instantaneous, who manages to project a track of time "in the photograph" without turning it into caricature.
Péter Tímár
