Josef Koudelka
is one of the more important Czech photo journalists of
the 20th Century. In August of 1968, he witnessed and photographed the
Warsaw Pact invasion of Prague. For the next 7 days, Koudelka captured
the protest, violence and historical impact in a series of dramatic
photographs that shared the event with the world. For years, he went
uncredited as the photographer of these images out of fear for his life.
He even won the Robert Capa Gold Medal for the work anonymously.
Interestingly this would be the only conflict news event that Koudelka
would ever cover.
In this video we'll take a look at Koudelka's career. His early work
with the theater greatly influenced much of his later work including the
Prague invasion, Gypsy studies and later landscape images.
Koudlka is a brilliant photographer. For all of his talented he went
largely uncredited for most of his career.
Book: Koudelka: Nationally Doubtful (Art Institute of Chicago)
I have to shoot three cassettes of film a day, even when not 'photographing', in order to keep the eye in practice. - Josef Koudelka
“The biggest lesson in photography is that from negative we make a positive"
Josef Koudelka
“What matters most to me is to take photographs; to continue taking
them and not to repeat myself. To go further, to go as far as I can.” –
Josef Koudelka
“I am not interested in repetition. I don’t want to reach the point
from where I wouldn’t know how to go further. It’s good to set limits
for oneself, but there comes a moment when we must destroy what we have
constructed.” – Josef Koudelka
“If I am dissatisfied, it’s simply because good photos are few and far between. A good photo is a miracle.” – Josef Koudelka
“I have to shoot three cassettes of film a day, even when not
‘photographing’, in order to keep the eye in practice.” – Josef Koudelka
“Sometimes I photograph without looking through the viewfinder. I
have mastered that well enough, it is almost as if I were looking
through it.” – Josef Koudelka
“When I photograph, I do not think much. If you looked at my contacts
you would ask yourself: “What is this guy doing?” But I keep working
with my contacts and with my prints, I look at them all the time. I
believe that the result of this work stays in me and at the moment of
photographing it comes out, without my thinking of it.” – Josef Koudelka
“I don’t pretend to be an intellectual or a philosopher. I just look.” – Josef Koudelka
“I photograph only something that has to do with me, and I never did
anything that I did not want to do. I do not do editorial and I never do
advertising. No, my freedom is something I do not give away easily.” –
Josef Koudelka
“I don’t like captions. I prefer people to look at my pictures and invent their own stories.” – Josef Koudelka
“I never stay in one country more than three months. Why? Because I
was interested in seeing, and if I stay longer I become blind.” – Josef
Koudelka
“My photographs are proof of what happened. When I go to Russia,
sometimes I meet ex-soldiers… They say, ‘We came to liberate you….’ I
say: ‘Listen, I think it was quite different. I saw people being
killed.’ They say: No. We never… no shooting. No. No.’ So I can show
them my Prague 1968 photographs and say, ‘Listen, these are my pictures.
I was there.’ And they have to believe me.” – Josef Koudelka
“The changes taking place in this part of Europe are enormous and
very rapid. One world is disappearing. I am trying to photograph what’s
left. I have always been drawn to what is ending, what will soon no
longer exist.” – Josef Koudelka
“It never seemed important to me that my photos be published. It’s
important that I take them. There were periods where I didn’t have
money, and I would imagine that someone would come to me and say: ‘Here
is money, you can go do your photography, but you must not show it.’ I
would have accepted right away. On the other hand, if someone had come
to me saying: ‘Here is money to do your photography, but after your
death it must be destroyed,’ I would have refused.” – Josef Koudelka
“When I first started to take photographs in Czechoslovakia, I met
this old gentleman, this old photographer, who told me a few practical
things. One of the things he said was, “Josef, a photographer works on
the subject, but the subject works on the photographer.” – Josef
Koudelka
“I would like to see everything, look at everything, I want to be the view itself.” – Josef Koudelka
My philosophy is to get to know the location before even bringing my camera with me into the wilderness. I will often spend several days at each location so I can experience sunrise, sunset, and the way that the light falls on the land. This allows me to formulate how best to capture the beauty of a scene. Without doing this, I find myself very intimidated by the beauty of a location, and feel that I am not capable of truly capturing the essence of a location... ... shot on 8x10 film, and a few of my earlier images were shot on 4x5 film ...
Over the last fifteen years, almost every photographer I’ve interviewed has waxed poetic about that “magical” experience of seeing an image develop in chemicals for the first time. You have to wonder whether today’s young photographers will rhapsodize as much about the first time they color-calibrated their monitors...
Want to see what kind of work goes into turning a masterful photograph into an iconic print? Pablo Inirio, the master darkroom printer who works at Magnum Photos‘ New York headquarters, has personally worked on some of the cooperative’s best-known images....
Tahle Tour de France měla vlastně standardní průběh. Dvakrát během ní zmokla na kost. Jíst obvykle nestíhala. V předposlední, horské etapě – té, kde útočil Čech Kreuziger – ji málem smetl vrtulník. A po cestě do Paříže dojela o půlnoci posledních deset kilometrů k benzínce s úplně vyschlou nádrží. Nic, co by ještě fotografku Markétu Navrátilovou, jedinou Češku v pelotonu Tour zocelenou tolika „starty“ v závodě, mohlo rozhodit.
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central "hot-spot"
Lighting that is done close to the subject shows that the shoot-thru umbrella has more coverage but no ‘wrap’ to it, while the reflective umbrella has less coverage but more even light. When shooting a portrait, the white umbrella when placed close to the subject creates a center weighted soft 'hot spot' of light ie. the intensity is strong at the centre, and fades to the shadow.
The skin looks soft with this light. At the same close distance, the silver umbrella gives more wrap and even coverage of light. The skin gives shows an even sparkling effect, which is good for people with great skin. At long distance though, both light produce almost the same effect and difference if any is negligible(even for lighting geeks), although the silver umbrella eats up more power from the light source to give the same amount of light as the white shoot through umbrella... source
