Koudelka: Shooting Holy Land, the debut documentary film of Israeli-born photographer Gilad Baram, offers a unique and intimate look into the creative process of world-renowned Czech photographer Josef Koudelka.
Since 1986, when I began to work on the landscapes of France for the Mission DATAR with a panoramic camera, I’ve tried to show how contemporary man influences the landscape. But I’d never seen anything similar to this. From my point of view, I could not find a subject more powerful than the Wall that mutilates the Holy Land.
For a land so deeply entrenched with history and conflict, Israel is not an easy subject to approach in a photography project, especially from a single standpoint. Born out of an idea by Frédéric Brenner, a French photographer who has long explored Jewish
The duty of a photojournalist, according to many, is to remain detached in a moment of crisis, to compartmentalize scenes of violence and war from the goings on of everyday life. As suggested by Italian journalist Mario Calabresi in his extraordinary book
I’ve never been interested in photojournalism that attempts to tell a story through several pictures. I’ve always sought out pictures that tell a story in themselves, letting each viewer see a story that suits them. For me, a good photograph is one that tells a different story to each person who sees it
For nearly five decades, the Czech-born photographer Josef Koudelka has been traveling nonstop. “I never stay in one country more than three months,” he told Lens blog in a rare interview. “Why? Because I was interested in seeing, and if I stay longer I become blind.”
After years of taking striking photos of Gypsies, the Czech photographer stood before the tanks during the 1968 invasion. He smuggled out his images, they went round the world and he fled to Britain. Here are his most poignant and powerful shots
Amanda Maddox of the Getty Museum, Josef Koudelka, and Matt Witkovsky of the AIC on the dais. Words and photos by Dan Gorman I attended the opening of the Josef Koudelka exhibit at AIC last week. I walked through the...
I was using this Fuji panoramic — but the problem was everyone stopped developing the film. You can’t get 220 film anymore and you needed to carry about 35 kilograms extra. I went to Leica and they did one camera for me that was digital panoramic, which is this S2 camera, and they make two lines and set it on black and white. I made four trips with it together with the film camera. In the last two trips I realized I was taking more pictures with this Leica and I am enjoying it more. The result is very comparable. The lens was exactly the same.
Legendary photographer Josef Koudelka packed the house at the Paramount Theater in downtown Charlottesville during the Look3 Festival of the Photograph over the weekend, and the audience greeted him with a standing ovation after master of ceremonies, phot
Me, I do not try to understand. For me, the most beautiful thing is to wake up, to go out, and to look. At everything. Without anyone telling me “You should look at this or that.” I look at everything and I try to find what interests me, because when I set out, I don’t yet know what will interest me. Sometimes I photograph things that others would find stupid, but with which I can play around. Henri as well says that before meeting a person, or seeing a country, he has to prepare himself. Not me, I try to react to what comes up. Afterwards, I may come back to it, perhaps every year, ten years in a row, and I will end by understanding.
"I try to be a photographer. I cannot talk. I am not interested in talking. If I have anything to say, it may be found in my images. I am not interested in talking about things, explaining about the whys and the hows. I do not mind showing my images, but not so much my contact sheets. I mainly work from small test prints. I often look at them, sometimes for a long time. I pin them to the wall, I compare them to make up my mind, be sure of my choices. I let others tell me what they mean. [To Robert Delpire] My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not."