In Conversation:
Tori Ferenc and René Burri

Leica: 100 years of Leica photography: what are your thoughts on this?
Tori Ferenc: Leica is undeniably a cult name in photography. What I find most compelling is that, despite the swift pace of technological progress over the years, Leica has consistently upheld a standard of excellence that remains ahead of its time. I had always dreamed of working with a Leica, and when the opportunity finally came, I was astonished by the sheer quality of the images it produced. The depth of the colour tones and the subtle interplay of shadows create an experience that feels truly exceptional. It’s no surprise that Leica has remained the camera of choice for countless photographers throughout the decades. A plethora of pivotal moments in history have been immortalised through a Leica lens. It’s almost surreal to consider how much of the world has been captured with a Leica.

How has the work of LHOF winners influenced your work?
I have no formal training in photography, so I have always learned by studying the work of others. I’ve examined their images closely, explored what sets them apart, and sought to grasp the narratives they convey. A photographer whose work I particularly admire is Joel Meyerowitz. The way he captures color and the warmth that emanates from his images is something I aspire to achieve in my own work. I have also always been fascinated by the humour in Elliott Erwitt’s photographs. His pictures brim with lightness and joy. And then there is René Burri. His photography possesses a clarity, almost graphic in nature, yet it is imbued with remarkable depth.

The exhibitions are about a visual dialogue between two generations. How did you approach this theme?
We envisioned the exhibition as a conversation rather than a comparison. By juxtaposing works from René Burri’s archive and my new project, we intend to invite viewers to perceive both continuity and discontinuity.

Where do you get your inspiration?
I definitely feel inspired by other photographers – I think that’s inevitable, particularly when I view pieces at photo competitions and festivals. When it comes to contemporary photography, I value the work of Nanna Heitmann, Daria Svertilova, Jędrzej Nowicki, Sarah Blesener, Emile Ducke, and the Docks Collective. They succeed in blending documentary photography with fine art, which is also the aim of my own photographic practice.

What opportunities and challenges do you see for the future of photography?
I’m not in favour of the growing trend towards AI-generated content, though I’m not concerned that this technology will replace photography. However, as AI-generated images grow increasingly lifelike, I worry that distinguishing between authentic and fake visuals will become ever more challenging. As a result, trust in photography as a documentary medium could decline. Nevertheless, we’ll continue to find new ways to tell stories, perhaps by incorporating multimedia into our storytelling in the future to make it more immersive.

What role do galleries play in the age of digital media, and specifically for your work?
Photography can only reveal its true power in printed form. In a gallery setting, photography transforms into a holistic experience. There’s an intimacy in the physical presence of a print. When you stand close to it and observe its texture, the light, and its subtle imperfections, the photograph takes on a life of its own.