Perhaps more than any other photographer, Andre Kertesz discovered and demonstrated the special aesthetic of the small camera. These beautiful little machines seemed at first hardly serious enough for the typical professional, with his straightforward and factual approach to the subject. Most of those who did use small cameras tried to make them do what the big camera did better; deliberate, analytical description.
Kertesz had never been much interested in deliberate, analytical description; since he had begun photographing in 1912 he had sought the revolution of the elliptical view, the unexpected detail, the ephemeral moment ___ not the epic but the lyric truth. When the first 35mm camera (the Leica) was sold in 1925, it seemed to Kertesz that it had been designed for his own eye.
Throughout most of his career, Kertész was depicted as the “unknown soldier” who worked behind the scenes of photography, yet was rarely cited for his work, even into his death in the 1980s. Although Kertész rarely received bad reviews, it was the lack of commentary that leads to the photographer feeling distant from recognition. Now, however, he is often considered to be the father of photojournalism.