Joseph Kaudelka's unique shooting technique and wandering operation mode.

Kodeka's early works were all shot with the lens of the same monocular camera.

When he was in the Czech Republic, he bought a 25mm wide-angle lens from the widow of the late photographer Kitty Jenichek, and he couldn't put it down. Kodeka 196 1 year, 1967 and 1970 in Prague, 1973 in Britain, and 1975 in new york Museum of Modern Art, all the photos on display used this 25. And 60 photos of his hit album Gypsy (published by American APERTURE and French company DELPIRE) are no exception.

It was not until he felt that his work was a bit repetitive that he began to switch to a binocular camera, but he still preferred a wide-angle lens, never used a telescope lens longer than 50 mm, and it was almost impossible to see Kodeka's recent works, because he always took pictures and developed thousands of negative films accumulated over the years in one breath. Because he has never had a fixed home or a fixed darkroom, it often takes five or six years for his latest works to be published. Kodeka didn't put photos, but put five or six thousand. Not only did he release the works that he thought were satisfactory, but those that failed were more meaningful to him. He said, "accidents and mistakes are equally interesting to me. They can show me whether it is possible to develop further. I urgently need the help of these bad photos.

"Koudeka often hangs many photos on the wall for research, removing those photos that can't stand looking for a long time from them day by day, and finally staying on the wall is a good work. The first person who got help when Gameland returned to Kudka was Anna Pallova, a famous Czech female art critic. Whenever foreign artists visited Prague, she strongly recommended Kodeka to others, and his reputation began to spread to the West. These famous tourists include Aaron Porter, arthur miller and female photographer Luger Morath. However, for Kodeka, the most important thing is that he met Bresson unexpectedly and got his appreciation and affirmation. 1970, when Kodeka went to the United States from Britain to receive the robert capa (19 13- 1954) Memorial Award, he met Elliot Erwitt (1928 ~), the president photographer of Magellan, again, and was invited to join in the next year.

Since then, Kodeka and the photographers who helped him have been listed among the important photographers in the world today. Kodeka, who has never accepted any business entrustment or magazine invitation to take photos, has full freedom in the group of "magellan", and he can take whatever he wants. He said that he only took pictures for himself and thought that "there is no unbreakable law in photography." Or: "There is only one rule in photography. You should shoot in the way you think you should. " In many photos, Kodeka has a fairly complete composition and just the right shutter timing, and his observation method has the power to go straight to the core of the incident. He said: "The first impression is very important to me. I often take a photo of it where I was standing, and then make any necessary corrections if circumstances permit. " "When taking pictures, I don't always aim at the target with my eyes. If the border of the photo is not very accurate, I will cut it off when I enlarge it. "