Issue9 by The Archive

The Archive

‫‪Shir Halevi‬‬ ‫יוסי‪.‬‬ ‫עשר שנים בדיוק‪ .‬זוכרת את זה כאילו זה היה אתמול‪,‬‬ ‫הקול שלך עוד מהדהד והביקורת נוקבת‪ .‬עשר שנים עברו מפרוייקט הגמר בשנה ב‪.‬‬ ‫אני די בטוחה שבזכותך ובזכות ההנחייה שלך הוצאת ממני את המיטב‪ ,‬המיטב שמאז אני מתגעגעת וכמהה לשוב ולהוציא‬ ‫מעצמי דברים שרק בזכותך יכולתי‪.‬‬ ‫הוידאו המשולש שכל כך התרשמת בסוף מהתוצאה‪ .‬עבודה שזעקה זכרון‪ .‬זכרון לאדם‪ ,‬לתקופה‪.‬‬ ‫אתה היית מעולה בזה‪.‬‬ ‫סחטת ממני בעבודות מיץ רגשי ונטול מסיכות‪ .‬רק לדבריך האמנתי באמת‪ .‬ידעתי שאין יכולת להסתיר כלום‪ .‬החשיפה הפחידה‬ ‫אותי אבל גם ריגשה‪.‬‬ ‫ריגוש שתמיד אתגעגע אליו‪ ,‬ולמילים החזקות והחכמות‪ .‬לְ עולם בלי פילטרים שידעת ככ טוב לייצר‪.‬‬ ‫כבר שבוע‪ ,‬מאז ששמעתי על פטירתך‪ ,‬אני נוברת בתמונות מהתקופה של הלימודים‪ .‬מחפשת‪ ,‬צוחקת ומתגעגעת‪ .‬עשר שנים‬ ‫המ ַפתח וריח הרחוב הירושלמי‪ .‬שכה התגעגעתי אליהם‪.‬‬ ‫של זכרונות‪ ,‬מהולים בריח ְ‬ ‫כל התמונות מזכירות לי אותך‪ ,‬את האנשים ובכלל את התקופה אולי הכי טובה שהייתה לי בחיים‪.‬‬

‫תודה שהיית חלק ממנה יוסי‪.‬‬ ‫לא אשכח אותך לעולם‪.‬‬ ‫שיר הלוי‪ ,‬בוגרת מכללת הדסה ‪.2006‬‬

THE ARCHIVE MAGAZINE FEATUERS This issue is dedicated to: Real Time Equipment Review Uriel Sinai - Democratic Republic Of Congo Yoav Dudkevitch - The Daily Issues Ariel Schalit - Refugees in Israel “Gear-selfly“

INTERVIEWS Interview with Uriel Sinai, photographer and cinematographer.

Kobi Wolf

Ohad Zwigenberg

Noam Revkin-Fenton

Hadas Parush

ActiveStills.org

Hadas Parush

Bezalel Ben-Chaim

Ohad Zwigenberg

Ben Kelmer

Danielle Shitrit

Kobi Wolf

Wissam Nassar

Tomer Neuberg

Wissam Nassar

Tomer Neuberg

Wissam Nassar

Albert Sadikov

Oren Ben Hakoon

Wissam Nassar

ActiveStills.org

Noam Moskowitz

Omer Miron

Amir Rotgolz

Bezalel Ben-Chaim

Real time equipment review

Leica Summicron-s 40mm Ilia Yefimovich

This lens was manufactured in mid 70’s, and today I use it on my Leica M9 for photojournalism work: (1973-1977, 39 filters, 126g.) In the following issue we will feature a technical opinion review of cameras and lenses in real life experiences, no charts or cats - just taking the gear out to shoot. For our first review I’ll be talking about a very small piece of glass. Leica Summicron-s 40mm (1973-1977, 39 filters, 126g):

This lens, manufactured in mid 70’s, I use today on my Leica M9 for photojournalism work. This glass has a few very unique features in my opinion (besides being one of the cheapest modern Leica Lenses). Summicron 40mm is small, yet very powerful. It has a very short focus ring that helps me focus in seconds

on anything that happens around me. Luckily my version is very sharp and the colours are a delight on the M9 body. While I photograph most of my images on aperture F/2, they are still really sharp. There is slight vignetting when the lens is wide. Shooting up to the sun creates very interesting light flares that

really make some of the pictures very unique. Some would say that it’s not the best combination for photojournalism, but is there one? Most of the news photographers use large DSLR bodies with very heavy zoom lenses, to be able to capture all possible outcomes of each event that they are covering. For me it is important to try and stay as incognito as possible, by blending in with the surroundings, so that the characters in my photographs tend to forget that there is a camera pointing at them. I think in photojournalism it is very important not to become a part of an event but to stay as far as possible, and this kind of Lens-camera combination really helps these kinds of situations. This lens with a small adapter can suit Fuji mirror-less cameras or Sony Iso/Megapixel monster users. By using just a small adapter it can be connected to any camera, and still be very small lens. Of course the Fuji is not a full frame camera and the 40mm would fit only specific users, but there is a cover for every pot. Personally I think that lens can be used for anything, and when a little bit cropped (on fuji sensor) makes a nice contrasty portrait lens. Maybe I have some feelings to

this lens because it’s my first Leica glass, for years I was using DSLR cameras and Large Format for film. Going around with bulky cameras, makes me appreciate the small yet powerful Leica system. The quality of this lens never ceases to surprise me. In any lighting condition it has a very good outcome on both M9 and M240. The downside to this lens for me in the minimum focus of 0.8cm which, in photojournalism, makes it hard to get as close as possible to the subject - but at the same time leaves a lot of space to create images with a lot of information that can be useful in story telling. My M9 and M240 cameras don’t have viewfinder lines for the 40mm lens. In both camera I shoot using the 50mm frame - of course it is some-

thing that takes time to get used to, but in my opinion it’s great because I always know that I have “a bit more” then fitted in a 50mm frame lines. All in all, a very good lens. Of course if you go by charts, you might find some flaws when compared to the more modern Leica lenses, but this piece of equipment will be a real jewel in your glass line up. I find imperfection very important to my line of work; any kind of obstacle just makes my mind work harder on getting unique and new photographs. You always have to remember that with any kind of camera-lens combination you can create unique photographs. In this case it makes a wonderful size combination. The lens is very small (specifically if to compare with DSLR).

Uriel Sinai Photographer and Cinematographer

How different is it to work as a cinematographer after many years in photography? As A photographer I am used to working alone, but in cinematography it’s a lot of teamwork and there are different aspects to it. You learn

how to collaborate with people and it’s a great thing. The downside is that I can’t just move the camera and shoot independently as I used to in stills photography, because I have to work with the production team. Every frame is the prod-

uct of team work: there’s a sound man, props artist, and a lighting technician man, and all the decisions are made as a team with the producers. I benefit from the teamwork because now I can collaborate with new professional people all

the time. What drives you in your daily work? It’s an inner mechanism that started at an earlier stage as I was working for a local paper and photographing weddings in my hometown

of Netanya. This mechanism never stops and sometimes helps you to develop yourself in new surroundings as today for example I’m doing cinematography. How different it is to work with a newspaper as opposed to working with a news agency? The Differences are enormous, as an agency photographer you are expected to bring a large range of images that will tell a story of a specific event, the feeling is the editors know what you are capable of and there is less pressure. Working in a newspaper you have a larger responsibility: you have to understand the article, because sometimes the photographs are part of the written text and sometimes they are the ones that lead the article. In the paper you work in developing your own unique style, while in an agency you know that there are different clients and you need to create a larger variety that will answer the needs of many newspaper editors and magazines. What is your favourite Color? Light Blue What is your favourite

place to photograph? There is no specific location, I love to photograph in new places they make my eyes pop. How do you know when you got a good picture? It doesn’t happen so frequently but when it does you know immediately. When I captured something good, I fill up with a very unique feeling.

Book/Cartoon? The Famous Five How did photography change over the years since you entered the scene? Photography is the same but the technic and the world have changed. Back in the day I was taking a bus from Netanya to Tel-Aviv to go to the Yedioth Ahronoth newspaper lab in order to develop my rolls of film. From 36 frames, the editor would choose 1 or 2 photographs from only seeing the negative.

Today we are in the age of the Internet, everything is instant, and you can see the images you created immediately. When everybody has a phone with a camera and ability to send pictures instantly, the competition is large and you have to be professionally very unique in order to stand out. Also, you have to look out for other photographers that might get in your frame, something that wasn’t a problem when I started. What is your favourite

What do you hate about your work? The obsession and slavery that comes with the job. The fact that this job never stops, you can love and hate it in the same breath. You just can’t look at things without the viewfinder in your mind, can’t go anywhere without a camera. For the past few years I try not to take my camera when I’m not on assignment. What is the most important thing about your job? The most important thing in my work is to create an intimacy with my subject,an intimacy that anyone who will look at the picture will feel.And of course good light can help. What can you tell the younger generation? Go out and take pictures, experience is the best tool. Go out make mistakes, and learn.

Democratic Republic of Congo

Uriel Sinai

Refugees Ariel

in Israel Schalit

The Daily Issues Yoav Dudkevitch

ver the last year that I have spent in Cameroon, I had the opportunity to visit many different cities, in a country that is almost closed for tourism. It was the first time I had such an opportunity to spend a year and document the daily life in an African country. I didn’t have a set goal in mind, rather I simply tried to get to know this place and try to connect with the daily life, both on the streets and in nature. Cameroonians live in poverty, yet have an apparent strong connection to the land, their soil, and their surrounding nature. This sense of connection is very strongly rooted in my experience of Cameroon and its people.

‫חיי היומיום‬ ‫יואב דודקביץ׳‬

‫ב‬

‫ הזדמן לי‬,‫שנה האחרונה חייתי בקמרון‬ ‫לבקר בערים רבות במדינה שסגורה כמעט‬ .‫לגמרי בפני תיירים‬ ‫זאת הייתה הפעם הראשונה שהצלחתי לצלם‬ ‫ולתעד את חיי היומיום במדינה אפריקאית‬ ‫לא הייתה לי מטרה מסויימת לנגד עייני אלא להכיר‬ ‫ מקומות וחיבור לחיי היומיום‬,‫כמה שיותר אנשים‬ .‫ברחובות הערים ובמרחבי הטבע‬ ,‫הקמרונים חיים בפשטות ובחיבור חזק לטבע‬ ‫ החיבור המיוחד הזה של‬.‫לאדמה ואוצרותיה‬ ‫ בא לידי ביטוי בתמונות‬,‫אדם לסביבתו שחוויתי‬ ‫שצילמתי ברחבי קמרון ושל האנשים המיוחדים‬ .‫שחיים שם‬

Canon 5d mark ii

MY BAG: Uri Lenz Since I am no longer working for a daily newspaper, I’ve changed the nature of my equipment (still in progress): less zoom lenses and more fixed zoom lenses. I am using two Sigma Art lenses and loving them.

Canon 70-200 f/2.8

Two flashes and a Pocket Wizard system are a must - I never know when I’ll meet bad light or have something to add to the existing light. For now, I still don’t have the courage to change to mirror-less cameras.

Pock

Canon 5d mark iii Canon speedlite 600

Sigma Art 35mm f/1.4

ketWizard TT1

Sigma Art 50mm f/1.4

Canon speedlite 580

2X PocketWizard TT5

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 Hadas Parush Keren Refaeli

See you in the next issue