Issue 8 by The Archive

The Archive

THE

ARCHIVE MAGAZINE

FEATUERS This issue is dedicated to Breaking news photography: ”Refugees in Europe” by Attila Husejnow “Breaking News” open call Gallery “Gaza Aftermath” by Heidi Levin “HolyLand of The Jewish Settlers” by Kobi Wolf “Unexpected the Expected, Small Town Cop” by Birgit Krippner

INTERVIEWS Interview with Nati Shohat, news photographer and founder of Flash 90 agency

By Attila Husejnow

Hadas Parush

Danielle Shitrit

Lior Mizrahi

Ohad Zwigenberg

Yotam Ronen

Ilia Yefimovich

Yotam Ronen

Ohad Zwigenberg

Yotam Ronen

Noam Revkin-Fenton

Hadas Parush

Faiz Abu Rmeleh

Lior Mizrahi

Albert Sadikov

Faiz Abu Rmeleh

Noam Revkin-Fenton

Tomer Neuberg

Dan Haimovich

Faiz Abu Rmeleh

Hadas Parush

In this Issue we have chosen the photograph by photograhper Noam Moskowitz Jerusalem central bus station. October, 2015. Noam is granted 500 NIS at PhotoPrisma store in Jerusalem.

Noam Moskowitz

Dan Haimovich

Interview with:

Nati Shohat FLASH 90

What is Flash90? For me Flash90 is my soul. Today it is a very different agency than what it used to be in its first years. Today we have the freedom and ability to do whatever we want. For many years Flash90 was tied to the former Ma’ariv newspaper, but now we are able to take the time to invest in shooting features and anything that interests us, because we’re not obligated to any one specific newspaper. The beauty of Flash90 is the archive. We constantly work with both the past and the present, because there are always requests for archive photos of past events, and these images continue to sell to many different publications. In parallel, we constantly update the website with new images and continue to build a larger and richer archive. How did you become a photographer, what drew you to photography? I was not a very good student at school. At the age of 14, I was given my first Nikkormat camera, and I simply started photographing at every opportunity, and it was love at first sight. For years I taught myself. One day I photographed a news story, and sold it to

the agency Scoop 80 and that’s when I began working for them. What is a good picture? A good picture is an image that kicks. A strong picture is one that was never seen before, something new. There are a lot of good photographers in our region, and so the competition is very tough. How do you know when you’ve shot a strong picture? It’s not easy for me to get excited from a picture, but a strong picture is one with a spark. What is your advice for young photographers? The secret is to live it. We look at the world through a viewfinder. God gave us light and then built the locations in which we photograph. What is your favourite colour? Purple. What is your favourite cartoon? I was reading books as a child, and my favou-

Photo by: Emil Salman

rite was Jack London’s “White Fang.” How have things changes over the 25-year history of Flash90? We were shooting black and white film, developing and printing ourselves and we had to send it to the newspaper by 5pm. Today we are no longer sending pictures to the papers, but they download the pictures they want directly from our website. The advantage of working with digital cameras is that it’s quick, but there is no time to properly edit, and that means you have to be the best. Time is the most precious thing. It is not enough to be a good photographer or have a good eye. If before we were a boutique, selling one picture at a time for a small client, today we work

with many different clients, selling to different publications at a time, so it’s important for Flash90 to have the fullest coverage of every event, on a daily basis. What do you think about cell phone photography? The bad thing about these amateurs is that they forget about censorship and rules. These pictures can harm the very people they photograph. On the other hand, some of the most important pictures in history were made by these kinds of amateurs, for example the assassination of the former Prime Minister Itzhak Rabin was photographed by amateur photographers who happened to be there.

THE HOLY THE JEWISH

LAND OF SETTLERS

By Kobi Wolf

“

Of course it’s worth building my home here, even if I might lose money and my home one day” says one of the young settlers, “ I am building my home in a territory which belongs to the State of Israel, in the Holy Land, and I do it for my country. We are in a state of war and our Palestinian neighbors are our enemies”. The Jewish settlements in the West Bank, the Gaza Strip and East Jerusalem, have become one of the most argumentative issues in the Israeli-Palestinian conflict. In the past few months, I have been spending quite some time in the Jewish settlements, and as a “leftist”, I have been trying to understand the depth of man’s attachment to land and the reasons for one’s willingness to sacrifice himself for land while casting Palestinians away from their homes. Right wing parties in the Israeli political map have gained much power in the past few years. The government has been supporting the settlements and is considerably dependent on the settlers’ votes. The Israeli government spends a great deal of money and resources on these settlements while, at the same time, important national matters such as education and welfare suffer from cutbacks. In the eyes of the Palestinians, the establishment of Jewish settlements is an ongoing effort to remove them from their land. An internal committee assigned by the Israeli government has recently determined that there is no occupation in the West Bank, the Gaza Strip, and East Jerusalem, the apparent “occupied territories” are in fact legitimate Israeli territories, and therefore, Israeli citizens are allowed to build their homes in these areas. I chose to focus my photography work on the landscape of the Palestinian villages as it appears from the occupied territories, as well as the intensified building by Jewish settlers in the territories. My work also includes portraits of young settlers known as “hilltop youth”. Many of the “hilltop youth” claim that the mainstream settler movement has lost its way, opting for cheap housing built by local Arab labor. Hilltop youth often engage in organic farming and favor Hebrew labor - ‘Avoda Ivrit’ - over Palestinian labor. Marital age among the settlers is usually 19-20 years. Men often build their homes on their own, asking for no assistance. They are aware of the fact that since their home is being built illegally, at some point, the Israeli court might decide to demolish it. A small hut in an olive-tree plantation is all it takes to create a settlement. The Jewish settlers believe that one small hut can be a first step to establish a large city. They also gain much strength from their political power. - Kobi Wolf.

SCARS OF WAR

fter guns are silenced, photojournalists have the opportunity to go back to the scenes of collective violence, to dig deeper and identify the individual suffering. After a cease-fire ended 51 days of war between Israel and the Hamas-controlled Gaza Strip last August, I returned to begin an ongoing project focused on the healing process, studying how people manage to endure after living through unfathomable loss.It was the third war I had covered in Gaza in five years . What happens after the bombs stop in this part of the world is as important as what happens before, because the violence has become cyclical. My intent was to draw from the images I captured during the war and to document how Gazans manage to move on with their lives. I searched for the visual references of human resilience that emerges from the pain and tons of rubble, by living with families and tracking their gradual emotional and physical recovery, or the obstacles that make it impossible. These cases and others highlight what still shocks and amazes me after so many years, and what my ongoing project tries to capture- they epitomize human resilience, they depict the process of emotional and physical healing that makes itself felt here in Gaza, even as the threat of yet another military conflict looms.

By Heidi Leviene

“Unexpected the Expected, Small Town Cop”

by Birgit Krippner

The Archive Magazine wants to thank all the people involved in the making, especially the photographers that took part in this issue. Thanks to everyone who sent photos, gave advice, and provided moral and artistic support. Special thanks: Yoav Dudkevich (Cameroon) Hadas Parush Keren Refaeli

See you in the next issue