Fieret lived his entire life in The Hague, Holland.  He was renowned for his innovative, informal portraits and nude studies, all dating from the 1960s and 1970s.  The robust energy and private narrative of each of Fieret's pictures make his work as fresh and relevant today as it was 40 and 50 years ago.  His main subjects were women and self-portraits, in which he explored chiaroscuro lighting and double-exposures.  In printing his pictures in the darkroom, he experimented with cropping and varying contrast and exposure time, rendering each print unique.  In an attempt to protect his work, which he feared would be appropriated by imitators (even Picasso), he signed his prints in a celebratory flourish of penmanship and anointed them with his copyright stamps in graphic perfection.

Working freely in the 1960s and 1970s, when the market for photography was almost non-existent, and barely beginning, Fieret rarely made duplicate prints from any one negative.  His quest was "art for art's sake," and the darkroom was an exciting part of his adventure with photography.  The visceral qualities of these gritty and unorthodox black-and-white prints, made from 35mm negatives, reveal that Fieret operated completely by instinct in the darkroom as well as with the camera.  Although he was trained in graphic design and photography, he intentionally dismissed perfection and consistency for innovation and experimentation – by solarizing film and paper; sandwiching negatives; re-photographing prints in another setting; cropping his compositions in surprising ways; fogging the paper; varying the contrast of papers in order to create dissonance in the image; and taking advantage of accidents in the darkroom that worked out to his great delight.  The results are never repetitive or pretentious.

One of Fieret's trademarks, besides the copyright stamps and swath-like signatures overlaying his imagery, is the very personal relationship he had with his subjects: they were almost always in motion, always animated in communication with the photographer, and always free to be themselves.

When asked about his approach to photography, Fieret commented:

Often things depend on chance.  I am very grateful for that because it keeps me from coming to one single, even standard, which at some point would lead to a dead end.  I direct it; I know damned well what I am doing from experience.

Fieret was legendary not only for his photographs, but also for playing the panpipes and feeding the pigeons, riding his bicycle through The Hague with buckets of birdseed hanging from the handlebars.