Education
Information Engineering at Gábor Dénes University; photography studies at the New York Institute of Photography; applied-photographer qualification in Budapest.
Oeuvre · Biography · Curatorial context
The story began in the military with a simple digital camera. Since then I have photographed leaders, artists, weddings, global brands and people who trusted me with the hardest chapters of their lives. Very different situations. Yet the question has always been the same: how can a photograph truly see the person?

As a child I wanted to become an astronaut and explore the unknown. I eventually moved not toward the stars but toward the interior of the human being. The impulse to discover remained.
I trained first in information technology and completed an Information Engineering degree in 2005. Photography then became a parallel professional language: I founded the Hungarian Defence Forces’ professional photo studio in 2006, completed a New York Institute of Photography programme in 2015 and qualified as an applied photographer in Budapest in 2018.
New York changed the direction of the work in 2014. It taught me to see the city, the person and the image as a relationship rather than a subject placed before a background. Since then, commissioned portraits, documentary projects, books and curatorial work have developed in dialogue with one another.
I live and work in Vienna while maintaining an active professional base in Budapest. Alongside assignments and exhibitions, I build photography communities, teach workshops and develop projects in which visual culture becomes a tool for education and public benefit.
Over the years I have worked with ageing, illness, historical wounds, women’s stories, fatherhood, the body and our need for touch. They are not easy subjects. That is precisely why they matter.
I do not want to reduce the person in front of me to a simple idea. I give them time and a safe space. The discipline I learned in the military is still present, but it does not build a wall. It creates a frame. And it protects dignity.
This tension between order and emotion is also the bridge to executive portraiture. A leadership image and a fine-art body study are different forms, yet both depend on trust, boundaries, attention and the ability to distinguish presence from performance.
A serious accident made me stop and ask what I wanted photography to be for. The answer was simple: not just attractive pictures, but work that means something to the person in front of the camera. That decision still shapes every portrait and every long project.
New York taught me the next lesson. I arrived with very little money and a large idea. People helped, doors opened and the project found its way forward. Since then I have trusted careful preparation, human connection and the courage to begin before every answer is available.
Recognition followed, including the OM SYSTEM Ambassador role. I value it. But the projects that stay closest to me are the ones that became useful beyond the photograph: the oncology exhibition created with almost a hundred contributors, the community portraits that helped a school, and the workshops where knowledge keeps moving from one person to another.
That is also how I think about a commission for a leader or an organisation. The photograph matters. What it helps build afterwards matters even more. Read the longer interview ↗ · Read the Vienna portrait ↗
Photography begins as a sustained personal and professional practice.
Information Engineering degree, followed by the founding of the Hungarian Defence Forces’ professional photo studio.
New York projects, major portrait exhibitions, NYIP studies, an applied-photographer qualification and three interdisciplinary books.
Becomes an Olympus—now OM SYSTEM—Ambassador; a permanent exhibition opens at the Csolnoky Ferenc Hospital Oncology Centre in Veszprém.
Co-founds and curates the digital Rege Gallery in Tihany; The Frame, NFT and AI projects examine how images change in digital culture.
Launches Hungarian-language photography education in Vienna and helps develop the community that later operates internationally as VIPACH.
Community portrait fundraisers support the Vienna Hungarian School’s climate-control and piano projects.
Joins AmCham Austria and the World Federation of Hungarian Photographers; launches the free Be Smart Kids Club for Hungarian-speaking young people aged 10–16.
Information Engineering at Gábor Dénes University; photography studies at the New York Institute of Photography; applied-photographer qualification in Budapest.
OM SYSTEM Ambassador; honorary member of the Pannon Photographers Association; member of WKO professional photography, AmCham Austria and the World Federation of Hungarian Photographers.
Art to Go charity action, Vienna photography workshops, community portrait fundraisers and the free Be Smart Kids Club connecting digital skills with nonprofit service.
The following list is a compact curatorial map. Each project links to the full source page in the artistic archive.
Natural beauty without digital correction; 30+1 portraits questioned the mythology of retouched perfection.
banhalmi.art ↗Pin-up was treated as attitude rather than costume, separating playful femininity from age and body norms.
banhalmi.art ↗Urban portraiture connected Hungarian female identity with chosen places across New York.
banhalmi.art ↗A deliberately varied emotional spectrum explored the distance between social role and inner state.
banhalmi.art ↗Monochrome close studies dismantled stereotypes of masculinity through the intimate bond of father and child.
banhalmi.art ↗Portraits and personal objects gave individual faces to the historical trauma and resilience of 1956 émigrés.
banhalmi.art ↗Women living after gynaecological cancer were photographed with scars as signs of survival rather than deficit.
banhalmi.art ↗Photography, poetry, video and performance formed an interdisciplinary dialogue with Vincent & Vincent.
banhalmi.art ↗A group exhibition connected local and global identity through New York photographs presented in representation of Gödöllő.
banhalmi.art ↗Nine natural transitions in women’s lives were presented through personal testimony and portraiture.
banhalmi.art ↗Movement, discipline and emotion were photographed outside the stage, between classical technique and urban space.
banhalmi.art ↗Samsung The Frame became a changing digital exhibition surface for two decades of work.
banhalmi.art ↗A collaboration with the Hungarian National Ballet Institute focused on discipline, becoming and career choice.
banhalmi.art ↗Fine-art nude, NFT technology and a charity auction were combined to question authenticity in digital culture.
banhalmi.art ↗AI-generated portraits were used to provoke media literacy and distrust of technically perfect images.
banhalmi.art ↗Warm, gold-toned images presented tantra massage as holistic care and rehabilitated touch as a sacred human act.
banhalmi.art ↗A collective visual mosaic rejected a single definition of womanhood and anticipated the community logic of VIPACH.
banhalmi.art ↗Lyrical softness and elemental strength were brought together in a collaborative reading of the archetype.
banhalmi.art ↗Photography in dialogue with Zsófia Szele’s poetry examined chronic illness, caregiving, resilience and love.
banhalmi.art ↗A twenty-work interdisciplinary project bringing photography, music, technology and human stories together around unchoreographed presence; conceived as a tribute to Robert Capa’s ethos.
banhalmi.art ↗Since 2018, a long-term exhibition at the Csolnoky Ferenc Hospital Oncology Centre in Veszprém has presented portraits and personal stories of women affected by cancer.
As co-founder and curator of the digital Rege Gallery, I helped present photography and painting through Samsung The Frame and related exhibition formats.
Most vagy Soha / Now or Never — photography exhibition
Sári varázslatos világa — paintings by Sára Bernát
Szemek a nagyvilágból — photography by Péter Kónya
Medi-Szín — paintings by Barnabás Szabó Sipos
The Frame — digital photography exhibition
Balaton-felvidék — Pannon Photographers Association
Félúton — digital painting exhibition by Enikő Gecse-Legény
A természet csendje — Baumann Béla × John Judit × Polgár Martina
A book about women after gynaecological cancer, bringing artistic nude photography and personal testimony into a public language of recovery.
banhalmi.art ↗A multi-sensory collaboration in which poems are reinterpreted through photographic and moving-image illustrations.
banhalmi.art ↗Nine transitions in women’s lives, presented through first-person stories and portraiture as a record of diversity and transformation.
banhalmi.art ↗Alongside the independent oeuvre, I have worked across executive portraiture, editorial and brand photography, international sporting and cultural events, campaigns and institutional communication. The professional context includes assignments or collaborations connected with Coca-Cola, Samsung, Olympus / OM System, the Dutch national football team, international conferences and a wide range of private and corporate clients.
Today the work is based between Vienna and Budapest and can expand through selected photographers, retouchers and coordinators when the scale of a project requires it. Visual authorship and final responsibility remain centralized.
The archive provides project histories, social context, visual language, locations, dates and links to original exhibition pages.
The services show how the same long practice is translated into clear processes, predictable delivery and images with a defined use.
Selected Google reviews remain available in a quiet, collapsible section for visitors who want independent reassurance.
I photographed Péter Magyar at Heroes’ Square in Budapest on 15 March 2026 at 16:57 as the first work in EUFÓRIA – The Anatomy of Presence, an artistic project conceived as a contemporary homage to Robert Capa’s principle of proximity. Wikimedia Commons records the creator, depicted person, date, location, project relationship and CC BY-SA 4.0 licence.
The open licence allowed the portrait to move independently through encyclopaedic, educational and editorial contexts. The documented uses below include publications from different countries and sharply different political viewpoints. Their inclusion records the photograph’s reuse and attribution only; it does not endorse the articles’ political framing.
