Born 28 November 1957 in Budapest. After receiving his diploma in elementary school teaching of art and geography at the Ho Chi Minh Teacher Training School, he became a lecturer at the Youth House in Eger. He was already interested in photography. After completing his studies at the Visual Communications Department of the Hungarian Academy of Applied Arts, he received his degree as a designer in 2003 from the Moholy-Nagy University of Arts (MOME). In the same year, he became a member of the board, art director and school founder at fotografus.hu Foundation for Hungarian Photography. He was a photography teacher at the Szellemkép (Ghost Image) Free School for nine years. Since 2006, he is a university docent in Photography at the Visual Communications Department of MOME.
It was always the “autonomous report” that interested him most in his photographic activity: the segment of visual documentation that presents the fragment judged to be most authentically characteristic of reality and selected on this basis. (Here, the oeuvres of Péter Korniss and Imre Benkő are models for him.) In the formation of his photographic way of seeing, the visual worlds of W. Klein, J. Koudelka and M. Parr also made a strong impression on him.
In his albums, 1 second – photographs about Budapest (2002) and Homeland – photographs about Hungary (2007), he summarises the most significant works of his photographic career.
Important locations and subjects of his photos include: Keleti railway station, the tram, the Széchenyi Baths, the horse races, the Kerepesi graveyard, the world of prostitution along the road – in a word, everything important to him in his “subjective” terrain, in the given time and space.
His most recent exhibition was produced with colour digital technique and was arranged at the Hungarian House of Photography, under the title Esplanade, 2009-2012, where “a coherent picture is formed on the basis of characteristic fragments highlighted from the visual world of the street”.
He participated previously in many solo and group shows. In 2003, he received a HUNGART scholarship, and in the same year he was awarded the Balogh Rudolf Prize.
By way of his writings in photography theory and his curatorial activity, the significance of “subjective documentalism” and the “autonomous report” has taken on a strong emphasis in the approach and public sphere of contemporary photography.
Some of his photographs are preserved in the Historical Photography Archive of the Hungarian National Museum and the Csák-Körmendi Contemporary Hungarian Photography Collection.