It's obvious (to me) that the first C major prelude is absolutely drowned in pedal, and there is plenty at the start of the fugue as well.
Totally unauthentic, but whatever turns you on!
But if you cant "hear" what effects he is producing with the pedal, simply "using it because he does" might not achieve what you want!
The first answer is on the money (BTW quaver = 8th note, semiquaver = 16th note). His or her advice is based on sight readers wanting to clearly see the beginning of every beat (in this case beat 2 of each bar) when 16th notes are involved. You can also substitute a single dotted 8th rest for the 16th and 8th note rests if you like.
If you want to compare one which has very little pedal, have a listen to some of Glenn Gould's recordings. For example this one:
The same fugue starts at 15:10 on the Richter recording you've provided. You will see that the difference in pedal usage is pronounced.
The term you are looking for might be „bwv 1001 fugue analysis“ and will give you answers by google like:
A Pedagogical and Performance Edition of J. S. Bach’s Violin Sonata I in G minor, BWV 1001, Transcribed for Guitar: Transcription, Analysis, Performance Guide, Pedagogical ...