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'Moving among the actors on set, I was able to take the same scene, multiple times, but differently. It taught me how to get the most out of a given situation, and I have continued to apply this method to my work.' - Josef Koudelka In his own words, Josef Koudelka was not particularly interested in theatre in his youth. When he arrived in… Přejít na celý popis
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Humans of Prague
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Josef Koudelka: Next
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Modigliani
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The Portrait Photographer´s Manual
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Annika Nordenskiöld: From Nothing
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Araki. 40th Anniversary Edition
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100 Movies of the 2010s
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Erotica 2: The Nude in Contemporary Photography
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Charisma
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Julian Schnabel
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Caravaggio. The Complete Works. 40th Ed.
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Erotica 1: The Nude in Contemporary Photography
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New Surrealism
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Deserted: In Pursuit of Drylands
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Tina Turner by Peter Lindbergh
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Art Record Covers. 45th Ed.
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Container Architecture
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Scandinavian National Parks
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Pop-Up Surrealism
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The Little Big Butt Book
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Ylla: The Birth of Modern Animal Photography
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Edvard Munch: A Poem of Life, Love and Death
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I Work at Home : Home Offices for a New Era
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Garden City
'Moving among the actors on set, I was able to take the same scene, multiple times, but differently. It taught me how to get the most out of a given situation, and I have continued to apply this method to my work.' - Josef Koudelka In his own words, Josef Koudelka was not particularly interested in theatre in his youth. When he arrived in Prague from his Moravian village in the late 1950s, his focus was on his studies. His interests were airplanes, folk music and photography, which he practised as an amateur. A classmate recommended that he meet his uncle, who worked in the editorial staff of the magazine Divadlo (Theatre), then looking for a photographer. It was in this context that Josef Koudelka, soon to become an aeronautical engineer by profession, became a theatre photographer. In the 1960s, Prague theatres were one of the rare places in Soviet Czechoslovakia where relative freedom of expression continued. Following the Prague Spring (1968), these stages were forced to close, and their animators dissented or left the country. There is a rich correlation of levels between Koudelka’s theatrical photography and his later way of conceiving his images as a reflection on the theatre of the world. Everything that we know of his practice of the image can be found from his beginnings in the work he did in Prague in the 1960s: his attention to graphic composition, his ease of working in tight spaces among people in movement and in difficult lighting situations, his obsession with returning again and again to the same motif, the same gestures and rituals.
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