{"id":96715,"date":"2026-01-27T11:57:23","date_gmt":"2026-01-27T10:57:23","guid":{"rendered":"https:\/\/punkt.hu\/?p=96715"},"modified":"2026-01-28T16:43:02","modified_gmt":"2026-01-28T15:43:02","slug":"the-great-democrat-of-modern-photography-a-conversation-with-patricia-albers-author-of-the-latest-kertesz-biography","status":"publish","type":"post","link":"https:\/\/punkt.hu\/en\/2026\/01\/27\/the-great-democrat-of-modern-photography-a-conversation-with-patricia-albers-author-of-the-latest-kertesz-biography\/","title":{"rendered":"\u201cThe great democrat of modern photography\u201d \u2013 a conversation with Patricia Albers, author of the latest Kert\u00e9sz biography"},"content":{"rendered":"
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On the occasion of the publication of her new book, Everything Is Photograph: A Life of Andr\u00e9 Kert\u00e9sz<\/em>, we spoke with biographer Patricia Albers about the making of this ambitious volume, the extensive research behind it, and the ways in which Kert\u00e9sz\u2019s Hungarian roots shaped his vision\u2014ultimately leading him to become one of the most influential photographers of the twentieth century. The book was published on January 26, 2026, and its first launch takes place today at City Lights Bookstore in San Francisco.<\/strong><\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

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We know you are deeply interested in photography, as shown by your brilliant biography Shadows, Fire, Snow: The Life of Tina Modotti. I would like to ask what led you to choose Andr\u00e9 Kert\u00e9sz as the subject of your next book, and what was your first encounter with his work. Was there a particular photograph or moment that made you feel his story still needed to be told in depth?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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One day in the 1960s I was browsing in a bookstore when I stumbled on the Czech art historian Anna F\u00e1rov\u00e1\u2019s 1966 paperback Andr\u00e9 Kert\u00e9sz. I\u2019d never heard of Kert\u00e9sz. I found the book enchanting. Besides the photographs, F\u00e1rov\u00e1\u2019s skillful sequencing makes it great, and the small size gives a feeling of intimacy.
\nUp to then, my experience with photography was mostly family snapshots or pictures in magazines like Life and Look meant to educate, entertain, and show the world through the lens of \u201cthe American Century.\u201d Kert\u00e9sz\u2019s pictures felt like a portal to something more European, more poetic, more emotionally resonant.
\nSo that kindled my interest. Over the years I took advantage of every opportunity to see his work. When I finished my biography of the painter Joan Mitchell, I knew right away that I wanted to write next about Kert\u00e9sz. Not that any U.S. publishers were clamoring for a Kert\u00e9sz biography. Many editors seemed to know little or nothing about him. I\u2019m happy to say that Other Press has been supportive and enthusiastic from the start.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div>

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Patrica Albers: Everything Is Photograph: A Life of Andr\u00e9 Kert\u00e9sz
Other Press, 2026
ISBN: 978-1-59051-510-5<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div>

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How did Kert\u00e9sz\u2019s Hungarian origins shape the way you approached writing about him?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Researching his Hungarian origins was the most difficult aspect of my research. I don\u2019t speak Hungarian or claim a deep knowledge of Hungarian history or culture. A more cautious biographer would have chosen a different subject. But I plunged ahead.
\nI could never have researched or written the book without the generosity and kindness of so many Hungarians, some in Hungary, some in France, some in the U.S. As one example, I worked with a professor and filmmaker, both Hungarian Americans, at the Getty Research Institute, which has a copy of Kert\u00e9sz\u2019s diary and other primary documents. They translated for me, and together we discussed contexts, and meanings.
\nOf course, I also read all I could and spent time in Hungary, doing research (at the Hungarian Jewish Archives, Hungarian Museum of Photography in Kecskem\u00e9t, Budapest City Archives, and E\u00f6tv\u00f6s Lor\u00e1nd University Library, among others), visiting places that mattered to Kert\u00e9sz, and speaking with people like the wonderful family of Kert\u00e9sz\u2019s beekeeping mentor Ede Papszt.
\nI\u2019m fascinated with the impact of family culture and childhood experiences on my subjects\u2019 personal and artistic development. So I devoted lots of attention to Kert\u00e9sz\u2019s Hungarian origins, especially because there\u2019s rich and deeply personal material. He kept a diary, and he and his brothers were prolific letter writers. Almost too prolific. I\u2019m talking about letters that sometimes ran to eight or ten pages. All those documents are a remarkable gift because the youthful Kert\u00e9sz was articulate and self-revealing on paper. They helped me bring him alive. I got to know him in ways that become harder with the older Kert\u00e9sz. <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div>

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How do you see the influence of early 20th-century Budapest \u2013 its artistic, literary, and photographic circles \u2013 on Kert\u00e9sz\u2019s visual sensibility?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The feisty attitudes and the dynamism of pre\u2013World War I Budapest clearly helped shape Kert\u00e9sz. He took advantage of theaters, museums, the press, the literary culture, and all that informs his photographs. I relate their street smart and often slyly witty qualities to what\u2019s been called the Budapest spirit. Kert\u00e9sz also grew up with the assumption that coffeehouses are essential to both social life and artistic and literary culture. They were vital to his professional life, and he photographed them often, as places essential to human flourishing. That ended when he got to New York, where European-style caf\u00e9s didn\u2019t exist, and his life fell apart.<\/p>\n

I\u2019d add that Kert\u00e9sz grew up in a city with marked class differences and a hierarchy of religions. The Catholic aristocracy enjoyed enormous wealth and authority. Kert\u00e9sz was, of course, a Jew and the son of the owner of a Teleki t\u00e9r coffee house. Teleki t\u00e9r was not a prestigious association. Early on, he became aware of the unfairness of the system, and I think this seeded the interest in humble people and everyday life that runs through his work. One writer called him \u201cthe great democrat of modern photography,\u201d and that fits.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

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Many Hungarian artists of that generation, including Brassa\u00ef, Moholy-Nagy, and Kert\u00e9sz, were shaped by the post-Monarchy cultural atmosphere. Do you think this was an important aspect of Kert\u00e9sz\u2019s life, how he experienced the collapse of the monarchy and its cultural impact?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The art historian \u00c9va Forg\u00e1cs describes the post-monarchy as a time of \u201cpast-bound melancholy and nostalgia.\u201d The old world had vanished, and life felt bleaker. For Kert\u00e9sz, it coincided with his return to a tedious job. Even though he hated the war, it allowed him to travel and meet and photograph all kinds of people and places, as he\u2019d long dreamed of doing.<\/p>\n

After the war Kert\u00e9sz got involved with a group of artists who shared the wider cultural attitude that Hungarian authenticity was rooted in the countryside. That gave him permission to photograph pastoral scenes and vignettes of family life and indulge his romantic instincts, romantic in the sense of concerned with self-expression. There was certainly an element of nostalgia. But also he was inspired to experiment, with cropping and enlargement, for instance.<\/p>\n

These postwar years were hugely frustrating for him. He was stuck in that tedious job. He couldn\u2019t figure out a satisfying way to make a living. So many doors had closed for a young Jewish man in the Hungary of the anti-Semite Mikl\u00f3s Horthy. All Kert\u00e9sz really wanted to do was to photograph anyway, and to photograph as he chose to, not in ways that would have brought in a steady income.<\/p>\n

So it was an important period for Kert\u00e9sz but one that went on too long. By the time he arrived in Paris, he had exhausted his possibilities in Hungary. He had an intense pent-up desire for new and different experiences, and that paid off.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

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Do you think there was something distinctly Hungarian in the shared vision of \u00e9migr\u00e9 photographers, or, in Kert\u00e9sz\u2019s case, was it shaped more by the Parisian environment?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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I don\u2019t want to essentialize Hungarian \u00e9migr\u00e9 photographers. I think Kert\u00e9sz arrived in Paris with the values and attitudes I mentioned earlier. I also think he learned a lot from the Hungarian community in Montparnasse, among others. Much has been made of the impact of Mondrian\u2019s art on Kert\u00e9sz\u2019s work, and rightly so, but he absorbed the art of Hungarians including Lajos Tihanyi, J\u00f3zsef Cs\u00e1ky, Frederic Littman, and Ern\u0151 Goldfinger. Surrealist, Cubist, and Purist ideas were all in the air. The technical means and social uses of photographs were fast evolving. I think all this shaped Kert\u00e9sz\u2019s work and that of other \u00e9migr\u00e9 photographers.
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Fot\u00f3: Satiric Dancer, 1927 \u00a9The Estate of Andr\u00e9 Kert\u00e9sz \/ courtesy Stephen Bulger Gallery<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div>

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Fot\u00f3: Untitled [Self-portrait with Elizabeth], 1921 \u00a9The Estate of Andr\u00e9 Kert\u00e9sz \/ courtesy Stephen Bulger Gallery<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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What aspect of his Hungarian background do you think remains most misunderstood or overlooked in previous biographies or exhibitions?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\tLate in Kert\u00e9sz\u2019s life, his assistant Robert Gurbo asked him about the meaning of his work, and Kert\u00e9sz answered: \u201cIf you want to understand my work, read Ady.\u201d That\u2019s a sweeping statement! Yet it hasn\u2019t had much attention. Kert\u00e9sz took photographs for Gy\u00f6rgy B\u00f6l\u00f6ni\u2019s 1934 Az Igazi Ady. His still lifes for that project are admired, but the statement to Gurbo is about shared attitudes.\nKert\u00e9sz was a voracious reader, and Endre Ady an essential writer for his generation. Kert\u00e9sz knew some of his poems by heart. So how does reading Ady illuminate Kert\u00e9sz\u2019s life and work? For one thing, I believe that Ady\u2019s infatuation with Paris contributed to Kert\u00e9sz\u2019s choice of Paris as his destination when he emigrated from Budapest. The two also shared an inclination to obsessive romantic love. I\u2019m thinking of Ady\u2019s for Ad\u00e9l Br\u00fcll and Kert\u00e9sz\u2019s for, first, Jol\u00e1n Balog and then Erzs\u00e9bet Salamon. Also like Ady, Kert\u00e9sz viewed common people as the heart and soul of Hungary. There\u2019s also Ady\u2019s rejection of literary convention, embrace of both modernity and deep tradition, and insistence on creating on his own terms. Kert\u00e9sz did something similar in his own work. Sometimes he had to surrender to practical considerations like the need to put food on the table. But, as he said, he wanted to do what he wanted to do, and that\u2019s mostly what he did. \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>
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How did Kert\u00e9sz\u2019s relationships with other Hungarian \u00e9migr\u00e9 photographers, like Brassa\u00ef, Rogi Andr\u00e9, and Moholy-Nagy, influence his work?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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We tend to think of creative people as lone individuals striving to express themselves and get their work into the world. Kert\u00e9sz presented himself that way, saying that no one had ever influenced him, that he was an intuitive. It\u2019s true that in the 1920s Kert\u00e9sz pioneered certain ways of working. As Brassa\u00ef said, he was the first to appreciate the seductively photographic strangeness. He also adopted the Leica before almost any other serious photographer. As Cartier-Bresson said on behalf of the photography world after Kert\u00e9sz died: We are all his children. At the same time, Kert\u00e9sz talked about 1920s Montparnasse, photographers and artists, as one big family that shared artistic ideas, and that\u2019s true too. For instance, I see Kert\u00e9sz\u2019s 1934 book Paris Vu Par Andr\u00e9 Kert\u00e9sz<\/em> as partly a response to Brassa\u00ef\u2019s Paris de Nuit<\/em>.<\/p>\n

Looking at your question from another angle: other Hungarians, photographers and not, helped Kert\u00e9sz make the connections, find the jobs, and handle the practicalities that allowed him to be the bohemian photographer. He had no gift for foreign languages, so he relied heavily on other Hungarians during his early years in Paris. At that point, Brassa\u00ef was a collaborator and companion. Tihanyi explained things, introduced him around, acted as an informal agent, and apparently facilitated the exhibition at Au Sacre du Printemps that launched Kert\u00e9sz\u2019s career in the picture press. Rogi Andr\u00e9 put aside her own art as a painter to work with him and handle practical matters. Like Tihanyi, she helped create the conditions that allowed him to flourish.<\/p>\n

Granted, he taught her photography, and I do want to add that Kert\u00e9sz gave back. He also taught the Hungarian artist Tivadar Fried, and that skill may have saved Fried\u2019s life during the war. And he did so much for Robert Capa, from teaching him skills like how to use a flash to getting him jobs to doing the layouts for two of his books to feeding him and giving him a place to sleep when he was broke.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

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After spending so many years studying Kert\u00e9sz, what aspect of his life do you find most interesting?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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His wonderful photographs! The more I looked at and worked with them, the more I saw. I won\u2019t begin to give examples because there are so many, including many that I couldn\u2019t discuss in the book for lack of room. And others that I keep discovering.
\nI\u2019ll say too that learning about Kert\u00e9sz\u2019s life made many photographs feel more richly expressive. As one small example, I found out how attentive he was to the meanings of various flowers. He associated daisies with Elizabeth. That makes photographs of daisies like Chez Moi from 1973, with its feeling of cozy domesticity, and Flowers for Elizabeth from 1977, taken when Elizabeth was dying, feel all the more poignant.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

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Fot\u00f3: Martinique, 1972 \u00a9The Estate of Andr\u00e9 Kert\u00e9sz \/ courtesy Stephen Bulger Gallery<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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Kert\u00e9sz lived a long life and faced many struggles. What do you think drove him, and how difficult was it to write about him as a person, a human being who may have had many flaws?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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For one thing, I think he internalized the values of both his father, on one hand, and his mother, guardian uncle, and older brother, on the other, and that he struggled between them.<\/p>\n

By all evidence, his father had a romantic temperament. He was more interested in reading than in building a solid and lucrative career. Kert\u00e9sz\u2019s resolve to do what he wanted to do, however impractical, follows in his father\u2019s footsteps. One friend of his told me there was \u201ca \u201cdetermined helplessness\u201d about him. He just didn\u2019t want to deal with the \u201cugliness\u201d of business dealings.<\/p>\n

At the same time, he felt compelled to be successful in conventional terms. He wanted fortune and fame. He fretted about being a failure, and, for decades, he did consider himself a failure. He often spoke harshly about well-known colleagues.<\/p>\n

I see this conflict as tied to his emotional neediness and evasiveness about his own life. He often presented himself as more hero or more victim than he really was. It was hard to write about that aspect of his life. He was also a kind and generous man, and I wanted to interpret his words and actions fairly.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

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Kert\u00e9sz was a Hungarian Jew and an immigrant in France and the United States. He also had a very complex relationship with America. Do you think his identity as a Jew and an immigrant influenced his artistic development during his French and American periods?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Kert\u00e9sz\u2019s time in France coincided with the heyday of the so-called School of Paris, which included many Jewish artists from Central Europe. He was close to Lajos Tihanyi, Gyula Zilzer, and Frederic Littman. He also knew Mo\u00efse Kisling, Ern\u0151 Goldfinger, Marc Chagall, Tristan Tzara, and others. As a Jew and an immigrant, he got paid work and emotional support from their loose network of mutual aid. In addition, some of his biggest and best paying clients were publications run by German Jews like Kurt Tucholsky and the Ullstein family and the Hungarian Jew Stefan Lorant. Everything changed after Hitler came to power, Kert\u00e9sz lost his lucrative German market, and the European photographic world roiled.
\nAll that eventually caused Kert\u00e9sz to leave for New York, which of course has a large and vibrant Jewish community. But he couldn\u2019t adjust to New York. He found relationships all transactional. He felt crushed by the consumerism and competition. He didn\u2019t take full advantage of his relationships within the Jewish community as he did in Europe. <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div>

\n\t
\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\n\t\t\t\t\tGY.N\t\t\t\t<\/strong>\n\t\t\t\t
\n\t\t\t\t\t

Your book offers a fresh perspective on Kert\u00e9sz. What new information or insights about his life and work does it uncover that were previously unknown?<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\n\t\t\t\t\tP.A.\t\t\t\t<\/strong>\n\t\t\t\t
\n\t\t\t\t\t

Kert\u00e9sz\u2019s first wife was the photographer and painter Rogi Andr\u00e9. According to the standard account of Kert\u00e9sz\u2019s life, he divorced Andr\u00e9 in 1932 and married Elizabeth Salamon in 1933. However, Andr\u00e9\u2019s friend, the artist and poet Ren\u00e9e Beslon wrote in 1981 that Kert\u00e9sz and Andr\u00e9 never divorced. I was able to follow up Beslon\u2019s assertion with research showing that the divorce never happened and exploring the likely legal reasons why. Kert\u00e9sz married Salamon without having divorced Andr\u00e9.<\/p>\n

Why does that matter? I suspect that he never told Salamon or anyone else, at least at the time. This secret and the anxiety that his bigamy would become widely known must have weighed heavily, even if it wasn\u2019t an everyday concern. It may have figured into his decision not to return to France. It must have bred guilt, especially given that he abandoned Andr\u00e9 and later became financially comfortable, but she never did.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n\n\t\n\t
\n\n\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Fot\u00f3:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t

01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Fot\u00f3: Patricia Albers \u00a9 Leon Borensztein<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div>

\n\t
\n\t\t
\n\t\t\t
Notes<\/div>\n\t\t\t
\n\t\t\t\t

Patricia Albers is a San Francisco Bay Area\u2013based writer, editor, art historian, and long-time admirer of Andr\u00e9 Kert\u00e9sz. She holds a BA in Studio Art from the University of Iowa, an MA in French from Middlebury College, and an MA in Art History from San Francisco State University. <\/span><\/p>\n

Albers\u2019s first book,\u00a0<\/span>Shadows, Fire, Snow: The Life of Tina Modotti<\/em>, emerged from her remarkable discovery of Modotti\u2019s photographs in an Oregon attic. She later co-curated the exhibition\u00a0<\/span>Tina Modotti and the Mexican Renaissance<\/em>, which toured Europe and was hailed by the French press as \u201cthe first great Modotti exhibition in Europe.\u201d <\/span>She is also the author of\u00a0<\/span>Joan Mitchell, Lady Painter: A Life<\/em>, the acclaimed first biography of the abstract expressionist painter. <\/span><\/p>\n

Her essays, reviews, and features have appeared widely in museum catalogues and publications, and she has served as a panelist for the National Endowment for the Humanities and as a juror for the Biographers International Plutarch Award.<\/span><\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

On the occasion of the publication of her new book, Everything Is Photograph: A Life of Andr\u00e9 Kert\u00e9sz, we spoke with biographer Patricia Albers about the making of this ambitious volume, the extensive research behind it, and the ways in which Kert\u00e9sz\u2019s Hungarian roots shaped his vision\u2014ultimately leading him to become one of the most influential photographers of the twentieth century. The book was published on January 26, 2026, and its first launch takes place today at City Lights Bookstore in San Francisco.<\/p>\n","protected":false},"author":8,"featured_media":96709,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"spay_email":""},"categories":[12],"tags":[1443,704,269],"acf":[],"yoast_head":"\n\u201cThe great democrat of modern photography\u201d \u2013 a conversation with Patricia Albers, author of the latest Kert\u00e9sz biography - PUNKT<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/punkt.hu\/en\/2026\/01\/27\/the-great-democrat-of-modern-photography-a-conversation-with-patricia-albers-author-of-the-latest-kertesz-biography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cThe great democrat of modern photography\u201d \u2013 a conversation with Patricia Albers, author of the latest Kert\u00e9sz biography - PUNKT\" \/>\n<meta property=\"og:description\" content=\"On the occasion of the publication of her new book, Everything Is Photograph: A Life of Andr\u00e9 Kert\u00e9sz, we spoke with biographer Patricia Albers about the making of this ambitious volume, the extensive research behind it, and the ways in which Kert\u00e9sz\u2019s Hungarian roots shaped his vision\u2014ultimately leading him to become one of the most influential photographers of the twentieth century. 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