Throughout his travels in Pécs and the countryside, the theme remains open – a man passing through the landscape, a horse-drawn carriage seen from a window, a shadow cast on the sand. His solitude also permeates his art: “In his pictures, the human figure almost always appears alone” – as art historian Colin Finlay put it at the opening of his London exhibition (2012). “Just as in his commissioned photographs, in his private, artistic experiments, he formulated abstraction as a goal, but in such a way that the people, objects or landscape do not dissolve or disappear completely. His pictures are fragmented fragments of reality.” (Weltkunst)

His work is accompanied by ruthlessly strictly composed, perfectly exposed and pin-sharp negatives, but only as a starting point: in reality, his images are born in the darkroom. At night, the 3-square-meter darkroom, converted from the family bathroom, was the field of creative work and voluntary retreat. His limited means – similar to his Central and Eastern European peers – only provided further inspiration for innovation. “Based on my upbringing and outlook on life, it was then that the never-written, not ‘declared’, but consistently implemented life principle became in me: ‘NEVER GIVE UP!’” - he writes. He smuggles chemicals from Vienna, from which he makes a mixture of his own development: he applies this to the photo with a brush, sponge, or even under running water. Due to the limited space, he places the finished photographs between two fiberboard panels, and sits on them while working, thus pressing them. After drying, he often highlights or erases white or black tones with a brush or felt-tip pen: no two Szasz photos are the same.

However, his limited means – similar to his Central and Eastern European peers – only provided additional impetus for further technical innovation or for him to embark on alternative paths in search of a solution. “Based on my upbringing and outlook on life, it was then that the never-written, never “declared”, but consistently implemented life principle became a guiding principle in me: “NEVER GIVE UP!” as he writes. He smuggles brochures, magazines, technical equipment, and chemical materials from the West into Hungary as visual references. Later, he experiments with the latter to create his own solution, which “grew old” in a very short time, 10 minutes: a new one had to be mixed. He then applies this mixture to the photo with a brush, sponge, splash, or even under running water: this brightens and “brings light” to the image. He places the finished photographs between two fiberboard panels, on which he sits: due to lack of space, he presses them in this way. After drying, he often highlights or erases white or black tones with a brush or felt-tip pen.

The legacy came to light after the artist's death thanks to the activities of the family and the SosemArt Foundation. Lifetime exhibitions followed in the Hungarian Cultural Centers of London, Stuttgart, Vienna, New Delhi, then in private galleries (Berlin, London, San Francisco, Budapest), at the world's leading art fairs, and at auctions in Europe's most renowned auction houses. Szász became the most internationally recognized and most expensive Hungarian photographer of his generation.

He has been featured in L'Oeil de la Photographie, Germany's oldest art magazine, Weltkunst, Collectordaily.com, the San Francisco Chronicle and Wall Street International Magazine. His image of "Dance Together" was featured on the cover of David Leavitt's New York Times bestseller The Two Hotel Frankfurt, and in May 2017 a vintage photograph of his was sold at a Sotheby's London photography auction. His photographs can be found in leading private and public collections in Hungary and abroad.