Israeli Lens - August 2015

Fine Art Photography Magazine
STILL LIFE
August
#11
GUY GEVA MARCEL CHRIST ANDREY POVAROV

MAGDA INDIGO IGOR ZEIGER ANATOLY CHE
AMY KANKA OREN HASSON SHMULIK BALMAS
HENRY HARGREAVES SARIT TZABARI -TIRI
developed course curriculum and

content in a number of fields including
photography, internet, media and
graphic design. She was later involved
in the marketing of these courses to
various technology companies.
Dafna is the CEO, Founder&Editor of
Israeli Art Market, Israeli Art Market's
Magazine, Israeli Lens Magazine,
Sell My Art and Show My Work.
Editor & Founder : Dafna Navarro

Dafna was born in Jerusalem in 1975
and lives in Tel Aviv, Israel. She is a
known figure in the Israeli art world as a
lecturer, curator and appraiser of art and
collectibles.
She is also a Wordpress Expert for blog
sites, Corporate Sites & Woo Commerce
Sites (Active online stores). With many
years of experience in Google Analytic,
Google Adwords and PPC.
Dafna has lectured at academies of visual
art and design with years of experience
working in advertising and media.
Her education started at Technion
University studying interior design
followed by general design studies with
the artist Ilana Goor. She later obtained
a diploma in curatorial studies and art
appraisals.
In the beginning of her career she
worked as a graphic designer in various
multimedia companies such as Ness
Technologies, Casdim International
Systems, along with several major
advertising agencies in Israel.
In 1998 she began teaching at the Avni
Institute of Art and as a lecturer in visual
communication at Bezalel Academy of Art
and at Magen the Religious College of Art
and Design.
Dafna has authored a number of
books for Israeli academic institutes
including John Bryce College. She also
2
Israeli Art Market

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A website showcasing over 250 artists,

photographers and designers from various
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Editor & Founder : Dafna Navarro

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Cover Photo:
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All Rights Reserved
Copyrights To Magda Indigo @

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http://israeliartmarket.com 3
TABLE OF CONTENTS
08/ About Still Life Photography
18/ Guy Geva - At Death's Door
38/ Most Influential Photographer
Marcel Christ
60/ Andrey Povarov
72/ Elsewhere - Magda Indigo
"My Photographic Journey..."
94/ Igor Zeiger
110/ Elsewhere - Anatoly Che
124/ Amy Kanka - Inner Gardens
138/ Sarit Tzabari -Tiri
154/ Shmulik Balmas
Blooming/ Indian Moments/ Dawn
178/ Elsewhere - Henry Hargreaves
"Ready For Dinner".
192/ Oren Hasson - Iris To Iris
Copyrights To Magda Indigo All Rights Reserved
FINE ART PHOTOG

6
The Israeli Magazine for

Contemporary Fine Art Photography
Available for subscriptions and single Issues on Apple Store
Newsstand, Google Play, Magzter.com, joomag.com,
issuu.com, and available in a Kindle version on amazon.com
Available in a Print Version By MagCloud.com in U.S.A
RAPHY MAGAZINE
STILL LIFE
PHOTOGRAPHY
Still life noun: a painting, drawing, photography etc.,
Of a carefully arranged group of objects (such as flowers
and fruit); also: the art or activity of making still lifes
1: A picture consisting predominantly of inanimate objects
(a representation chiefly of inanimate objects, as a painting
of a bowl of fruit.)
2: The category of graphic arts concerned with inanimate
subject matter (the category of subject matter in which
inanimate objects are represented, as in painting or
photography.)
Copyrights To Marcel Christ All Rights Reserved

8
Copyrights to Henri Cartier-Bresson

WHAT IS
STILL LIFE
PHOTOGRAPHY
Still Life Photography is the depiction of inanimate

subject matter, most typically a small grouping of
objects. Still life photography, more so than other types
of photography, such as landscapeor portraiture, gives
the photographer more leeway in the arrangement
of design elements within a composition.Still life
photography is a demanding art, one in which the
photographers are expected to be able to form
their work with a refined sense of lighting, coupled
with compositional skills. The still life photographer
makespictures rather than takesthem. Knowing where
to look for propping and surfaces also is a required
skill.
Still Life images can be just about anything that
doesnt move. The definition of a still life subject
is an inanimate object but other subjects are
loosely termed as still life as well. These include
flowers, food, etc. They are life forms but they
dont move.Because the subjects are smaller,
lighting coverage is less and alternatively
less power is needed. Rather than the
need of a massive amount of studio
equipment, still life setups can be lit with
just daylight from a large window and/
or the use of one or two flash guns with
the aid of a few large white cards to
utilizeas reflectors.
Copyrights
To SHMULIK BALMAS All Rights
10 http://israeliartmarket.com
Reserved
Copyrights To Darrin Haddad All Rights Reserved
Lightning: Like all studio work, getting strong enough lighting to light the
subject suitably is the tricky bit. Remember that lighting is the most important
consideration with photography. Lighting a small area though is much easier
in one respect but much more skillful in another way. However once lighting
technique has been mastered, setting up a still life studio will be quick and easy.
Shadow is an important
factor,
too.
White
backgrounds will reveal
shadows, while black can
hide them. You canplay
with the shadow and light
on an object to help provide
a visual balance between
the two.
DayLight: The most natural form of lighting is

undoubtedly daylight. The problem though is
its impossible to fully control. Optimum lighting
conditions can be predicted but then the photographer
must schedule their shoots accordingly. Some
control of the light can be obtained through the use
of reflectors to bounce light into shadow areas and
diffusing material to soften strong sunlight falling on
the work area.
Flash: For full lighting

control flash is the most
versatile answer, even flash
lighting from a standard
flashgun. Exposure, lighting
angle and lighting quality
can all be fully controlled
in any situation or location.
A flashgun that can be
used on and off camera is
preferable.
An off-camera flash gives the

advantage of using directional lighting
from any angle. Also this gives the
option of diffusing the flash. The flash
can be diffused by either bouncing it
off a reflective surface, such as a large
card, or firing it through material to
soften its effect. It is also quite easy
to use more than one flashthrough
the use of slave units. Because flash

is perfectly balanced with daylight, the
two lighting sources can be utilizedto
light a single image. For example with
a window studio, flash can be used
to fill-in deep shadow areas. The trick
though is to balance it with the daylight
in order to achieve natural looking
results.Copyrights to Christopher Anderson
Many photographers prefer

still life because it allows
them to take their time
and control virtually every
aspect of the shot. The best
shots emphasize interesting
composition, texture, form,
color, balance, light and
shadow, harmony, lighting,
or all of the above. However,
another variety of this field of
photography, called found still
life, consists of objects that are
found naturally arranged, with
the photographer making little
or no adjustments. Choosing
objects for a great still life takes
an artistic, poetic eye. But if you
struggle with this, there are
some rules of thumb that can
get you started. Experts say
that if you use multiple objects
for your still life, they shouldn't
be random. Rather, they should
all fit into a common theme,
whether that theme isshape,
color, texture, function, period
of origin and so on.We
recommendcollecting many
objects that fit a certain theme.
Keep that collection on a table
next to you, and select from
it as you compose your shot.
Once you have your objects, or
at least a collection of choices,
you can begin to think about
background. The best choice
has to do with whether it
will complement and, most
importantly, not distract from
your
subject.Withlighter
subjects, the background
should be darker, and vice
versa.
The
background
should blend with (but have a
different tone than) the subject
in order to emphasize it. Black
backgrounds add intensity,
while white backgrounds
soften a shot. The background
also has different effects
on shadow. The simplest
backdrops are just blank
poster boards or sheets of
paper. But these aren't the
only options: Just because it
should be unobtrusive doesn't
mean it has to be boring.
Examples of popular textured
backgrounds include painted
canvas and cloth. Plants and
vegetables might call for
more natural backgrounds,
like brick and stone walls. In
general, however, the less
detailed
the
background
is,
the
betterDeveloping
a sophisticated sense of
composition
is
essential
to still life photography. It's
so integral that beginner
photographers
study
still
life specifically to learn the
art of composition. It's not
uncommon for professional
photographers to spend hours
in the studio striving to perfect
composition for a single shot.
Don't be afraid to take your
time and make adjustments
as you go.Wesuggest keeping
a table of objects next to you
as you compose your shot.
Start with the most important
object and add a piece one at
a time, each time checking the
image through the camera's viewfinder.

To carefully construct the composition,
it's essential to have a sturdy tripod.
Experts say to strive for balance
and harmony in composition, which
doesn't necessarily mean placing the
most important or biggest piece in the
center of the frame --in fact, it's often
advisable not to. Rather, the eye should
ideally flow from one point or object to
another. One dense (or dark) object
could work as an "anchor" for the eye,
while another adds warmth, and so
onFor still life photos, some say lighting
is just as important as composition.
That's because lighting can drastically
affect the tone of your shot, change
color saturation, and even make objects
seem denser or lighter. Keep your
numerous options in mind: You can
use just one light source, multiple lights

or various tools to help you manipulate
light. Professional lighting equipment
can get quite expensive, but it isn't
necessary, especially when you're just
starting out. Natural light is perfectly
fine, especially if you can soften it with a
white sheet over a window. You can use
household items that are translucent
or reflective to play with light effects.
Head-on light has a form-flattening
effect, while lighting from the side
brings out surface traits. Harsh lighting
can wash out colors, while low light
makes colors richer. It's not advisable to
use the camera's on-board flash, which
makes an image harsh and unrealistic.
- Copyrights To Rose Evander @
Copyrights To Anatoly Che All Rights Reserved

GUY GEVA
At Death's Door
Copyrights To Guy Geva. Amaryllis All Rights Reserved
GUY GEVA
At Death's Door
Death is a dominant motif in my
life, since I remember myself,
Visions pass through my head,
not only of death itself, but of
the process that precedes it
Loss of colors and energy, slow
dying, withering, weakening
At a certain point both soul
and body seek to accelerate
the process, But just like most
things in nature, I hold on to life
till the last moment.
I will not describe this situation
with bright light, of course, but
rather using very dark colors
Which together creates an
almost complete darkness.
It is the same darkness which
serves as a clear motif in the
photographs which stand in
front of you.
Nikon D600
Tokina 100 f/2.8 AT-X macro AF-D Pro
1/160. f/18. ISO-100. white balance-4170
Copyrights To Guy Geva. Holy Thistle All Rights Reserved

Copyrights To Guy Geva. Pomegranate All Rights
An Interview with
GUY GEVA
Please Tell us a little bit about
yourself?
I was born in 1973, and I'm a
photographer.
I have been practicing Art
under the instruction of the
artist "Shimon Avni"
I studied Theory of Art at the
Open University of Israel.
And have a B.Sc. Physics
from Tel-Aviv University.
From 1992 I started using
photography as an art.
My
photography
include nature and studio photography.
works
What type of photography do you do most? And what

do you enjoy most and why?
Most of my art work is nature photography. I'm
a proportional landscape photographer. And I'm
interested in the time of the day that 1 hour before the
is sun up.
The second part of my work is studio photography. In
studio photography I'm trying to express the part of me
that's interested in the movement of time. The way we
walk into death and the way I look at it. And this part
you can see in my work.
Copyrights To Guy Geva. Carob All Rights Reserved

Did you go to school to learn

photography?
No. I study physics and I can
understand optics of the lenses.
And my background is painter, art.
So to move into photography was
easy and natural for me.
Describe your photographic style,
How did you develop your style?
I look for clean format. Not a lot of
objects in the frame. So it will be
clear to see the main object.
What is the most challenging part
about being a photographer for
you?
To make the viewer the feeling that
I have it the moment of the shot.
What type of cameras do you shoot
with?
Nikon D610
Nikkor 20mm f/1.8G ED
Nikkor 28mm f/2.8D
Nikkor 50mm f/1.4G AF-S
Nikkor 300mm f/4D IF-ED AF-S
What is your favorite photography
accessory, other than your camera?
A cap of hot tea, Diffuses for [lash
and 4 extra battery's
What was your scariest moment as
a photographer?
Every winter I find myself in a snow
blizzard try to move my fingers
and straggle the will to go into my
sleeping bag and keep on working.
This is the moment that I can feel
"me"
Copyrights To Guy Geva. Orange All Rights Reserved

Which photographers influenced

you, and how did they influence your
thinking, photographing, and career
path?
There are more then one but I can say
that one of them is: Wynn Bllock
The way he work with B&W photos
from landscape to macro. All the time
he is very "clean" in his work. And there
is: Joel Peter Witkin, Barbara Crane ,
Regina Deluise...and more
In the last years I stop working full time
job and most of my time is working on
improvement of my way to "talk" to the
viewer with the lens.

Exactly what it is you want to say with
your photographs, and how do you
actually get your photographs to do
that?
Time is on the move to one way and is
the end of life. It is clear and clean path.
In this works that you see the fruit is in
it end of life. But steel it is doing all it
can to "stay" here. It is holding is color,
vividness until the last moment. But in
the end it will go in to the darkness of
life. In to his death
What is your best post processing tip?

If you work on a shot more then 1 min it because
you don't have a good shot. Go out and do it again.
If you don't need to post processing you make a
good work. Now do it better next time.
Copyrights To Guy Geva. Rose All Rights Reserved
What motivates you to continue taking pictures

economically,
politically,
intellectually
or
emotionally?
A sea of emotion that make me feel like I"m a kind
a snow storm. And I need to let it all out all the time.
If I stay at home more then too weeks I start to be
distress nature is calling me all the time so I can get
it all out
Copyrights To Guy Geva. Grape All Rights Reserved

Copyrights To Guy Geva. Purple African Daisy All Rights

Copyrights To Guy Geva. Clifornia nut All Rights Reserved

Copyrights To Guy Geva. Aleppo Woad All Rights

Copyrights To Guy Geva. Grapevine All Rights Reserved

GUY GEVA
At Death's Door
Prints are for sale in various
sizes. for details contact:
http://www.guygevaart.com
Most Influential
PHOTOGRAPHERS
MARCEL CHRIST



Most Influential
PHOTOGRAPHERS
MARCEL CHRIST
Marcel Christs approach
to still-life photography is
truly unique, making his
images some of the most
recognizable in the industry.
Having
studied
both
chemical engineering and
photography, Christ blends
these two interests to achieve his powerfully
dynamic work. He took his first photographs
a black and white series while traveling in
Prague and from that moment on he switched
his studies from chemical engineering to a major
in photography at the Academy in Amsterdam.
After graduating with honors, Marcel kept his
focus on that he is truly passionate about: still life
photography with a twist of chemistry.
His imagery is the outcome of his interest in the
unpredictability and surprise of the ingredients he
chooses to work with, but through meticulously
controlling the studio environment, he finds
ways to give life to otherwise inanimate objects,
immortalizing a singular moment in time.
"Nothing is accidental
- I push the boundaries
of the special effects and
photographic techniques
I'm using to create
controlled coincidence."
There is nothing still in his still-life work.

Everything moves, jumps and flies, like a
memorable single-frame film.
Marcels images have an unmistakable
life-force energy, dynamic and powerful,
challenging our concept of this genre.

57

MARCEL CHRIST
http://www.marcelchrist.com/
59
ANDREY
POVAROV
ANDREY POVAROV
Andrey Povarov, 28, was born
in Orsk, Russia. The interest
in photography started in
his early childhood, when
he used to spend long hours
helping his grandfather to
develop photographs at the
small improvised home lab.
At the age of 14 Andrey moved
to Israel, and joined a local
photography class during
high school. The hobby
became a true passion,
driving Andrey to the choice
of a path in his life becoming
a photographer.
He graduated with honors
from the Minshar" for Art
school in Tel Aviv, and
since then his works were
presented in numerous group
exhibitions in Israel.
Andreys unique point of view
allows him to present the
simplest everyday objects
from new angles, telling
fresh and exciting stories. He
is never afraid to dare and
explore, creating surprising
combinations with a gentle
sense of harmony and
balance.
ANDREY
POVAROV
Fine Art Prints Are For Sale In
Various Sizes. For Details Contact:
http://www.povarov-andrey.com/
e
r
he
W
e
ls
"MY PHOTOGRAPHIC
JOURNEY..."

"I am a Belgian,
born in Flanders,
in Bruges, who
happily lives in
the UK with my
husband, fellow
photographer
Paul Indigo.
Photography is
a way of life for me.
We all have our preferences but if you are
a good photographer who knows what
he's doing... you can do EVERYTHING? It
is ALL about light, creativity, beauty and
EMOTION, not only technical prowess;
isn't a perfect image without creativity
or emotion just a picture?
I am a versatile photographer who does
not fit into just one little box.
For many years I used the fabulous
Hasselblads... However, when the new
Nikon D7000 came out... I was soooo
impressed with the quality that I have
gradually been switching and now, no
more Hasselblad with the extension
tubes etc. only the Nikon, quality AS
GOOD! Never thought I'd say that!"

Canon T80, wow, with autofocus!

Not achieving the results I wanted
I enrolled in a photography course
in Holland, where I learned to work
in the wet darkroom.
Still not satisfied I read more
books but again, I did NOT want
The story begins.
to be too influenced by other
I was born in Flanders, Belgium, photographers.
into an artistic family; father
painted, was a fantastic piano Then Paul came into my life, a
player and writer of poetry and journalistic photographer. He
looked at my work and liked what
prose.
he saw, helping with constructive
With the grandparents on outings criticism; he taught me a
there was always a camera and tremendous amount.
I was allowed from a very young
age to take photographs. Sadly, We photographed together more
and more, learning from each
none survive.
other and falling in love.
Soon I discovered I had inherited
the genes for writing, painting and We also still painted, exhibited
creativity; not the musical ones in Belgium, more and more
being attracted by the world of
though, except appreciating it.
photography.
I studied, got married and raised my
three sons, forever photographing I made some soft pastels and
them along the journey. I grew up oil paintings, flowers on a black
in the city and then in my thirties background. Audiences liked it.
had my first garden. I devoured
books and know most flowers I had some black velvet paper and
inside out. The importance of this always fresh flowers in our home.
Tried capturing them with the
will recur.
camera, as you do, and...
As the boys grew into their teens,
I had more free time and started
to paint again. Reading books No stopping now.
again, but did NOT want to be too
Another love was born, now I
influenced by other painters.
wanted to learn and know all
Acquired a Canon AE1 and a few about light, because as we all
lenses. Then for fun and ease, a know photography is all about the

light. What could I use? Being

a flower lover, Eureka, I found
my subject matter, so diverse
in colour, shape and texture,
perfect!
human, animal, vegetable or

mineral.
When I first brought my flower
images
into
Photoshop,
forensically enlarged, I was
surprised by the amount of
dust on the petals. I spent
many hours (I find it extremely
Zen after a shoot) on removing
the dots, minute threads,
small insects and sometimes
imperfections. Not always the
last, because there is beauty
in imperfection?
And the 25 year journey

started. Sometimes being
frustrated at not seeing
the result that I had in my
mind's eye. I spent sleepless
nights, because that is when
I get my 'best' ideas. Many
different cameras, Nikon F4,
Hasselblad, more lenses, lots
of different lights and light
systems, even more reflectors I only bring out my photos
of all kinds; everything reflects, when immaculate! Crisp and
paper, silver foil, materials.
clean.
I was getting somewhere I felt,
and that is when the digital
revolution came. I resisted
until I was convinced that
the quality was 100% what I
was after. My creative talent
blossomed.
Now, after this massive

learning curve, I feel I have
'cracked' it? I found a niche in
the market, not evident.
What works for me.
In 2007 I switched and never

looked back, having to learn
a whole set of new skills, yet
the basics were the same.
You HAVE to know about
exposure, dof, composition
and light, the rules, only
then can you 'break' them
successfully.
Some of my compositions are

unconventional for flowers.
That is creativity and also,
as I love to say, I don't talk
to flowers but gladly listen
to what they tell me, they
are expressive, I see human
emotion in them.
I love 'playing' with the light,

bringing out details, shades.
To do that, you absolutely
need to understand what you
are portraying, whether it is
Made
many
mistakes,
learned from them, never lost
courage, I have enjoyed most
of it, and every day I still start
with that same madness they
like to call 'passion'. A very
important word. As is, the all

too often forgotten, 'emotion',
sacrificed
for
technical
perfection?
I feel that captions can add. I

see too many 'untitled', just
numbered photographs. If you
as a photographer do not care
to name your 'children' why
Most people know me as should anyone else care?
the
'flower-photographer'.
However, that's not how I see I was asked about the scariest
myself. When you are 'good' moment as a photographer?
you photograph everything, Not long ago, on a beach,
'preference' is the word here. trying to get to an interesting
I love beauty and that can be shot, 'needing' that angle, I
in anything; a tree, a person, was rescued by Paul as I was
netting on a quayside.
drowning in quicksand.
A big difference I notice in this What the future holds.
age of fast technology is that I
do not have to go in search of I count myself extremely
clients for projects, reportages, fortunate that I can photograph
now the clients come to me.
what I want; that I have the
freedom.
I shoot with a Hasselblad, a
Nikon D7000, Nikkor micro lens I haven't 'worked' in the last 20
60mm for my flower images. years; I had fun in the studio
To go out I use a Nikon D7000 with my lights and cameras,
with a Nikkor 18-300mm. I flowers and other subjects. So
love the flexibility of the latter, above all, it is imperative that
hate to be cluttered with too you love your camera, that
much gear, as I am an intuitive you are friends, that there is
photographer. The moment is a 'bond', that you enjoy your
important, but if I miss it, I miss photography. It will show in
it.
your results.
These cameras fulfil all my
requirements for now.
My photography, to bring some
hope, joy and peace, there is

I only have a small studio now too much angst already...
that I use to eternalise the
beauties from our garden and I will continue to create images,
home, a constant teaser.
because I love it.
I attach importance to titles,
I know the cliche 'a good
photo needs no words? Yet

http://magdaindigo.co.uk/
IGOR ZEIGER
"With photography I am trying to create a new
reality. Its quest for perfection, for impeccable light.
And, as every quest, it will never end. Because, in
a fraction of second everything changes, creating
more and more impressive visual concept.
The most common perception is that photography
is freezing the moment. I don't believe in it. It's much
more than that.
Photography, as any other form of art is providing
the basis for spectators to see what he desires to
see. We just use the media of photography to aid
people to get out of their mind borders, to use their
imagination.
My happiest moment is when a visitor in the gallery
or exhibition does not ask what I meant in specific
photograph, but when I hear an explanation what
he sees and that explanation differs from what I saw
when I made the picture. Because every picture
is a world by itself, it is not a moment, frozen in
time. The perfect picture for me is when everybody
sees something that clicks the button and this
something is always different."
Copyrights To Igor Zeiger

All Rights Reserved
95
IGOR ZEIGER
Biography
Solo Exhibitions
"Sacred City: Faces and Walls". July - October 2015.

Ramat Eshkol Municipal Library. Jerusalem
Group Exhibitions
2015
"Same as You". June. "Mazeh 9"

Municipal Art Gallery.
Tel Aviv.
"ANOTHER". December 2014 - June 2015.
Gan Meir Gallery. LGBT Center. Tel Aviv
The Edge. 18 -28 March 2015. Jaffa Port. Tel Aviv
Jaffa.
"Portraits". 3 - 16 February 2015.
"The Brick Lane" Gallery. London. UK
2014
"SCOPE Miami Beach" Art Fair. 2 - 7 December 2014.

Miami. USA.
"Photography Now". November. "The Brick Lane"
Gallery. London. UK
"Picture Peace". June. "Circle 1" Gallery. Berlin.
Germany
"Picture Peace". June. Speaker's Corner - New
Voices in Hackney Art. London. UK
"Picture Peace". April. Gallery "Beit HaGefen". Arab
Jewish Culture Center. Haifa. Israel
"Year in Review 2013". March. Angel Orensanz
Foundation. New York City. USA

All Rights Reserved
97
2013
"SCOPE Miami Beach" Art Fair. December. Miami.

USA.
"The Story of The Creative". August. Angel Orensanz
Foundation. New York City. USA
"TLV Pride". May. Rabin square. Tel Aviv. Israel
"So far, So close". February. Gavra Gallery. Tel Aviv.
Israel.
Curatorship
2015. "Same as You". June. "Mazeh 9" Municipal Art

Gallery. Tel Aviv.
Publications
Timeout Israel | Calcalist Newspaper, Israel | Facity

Project | KVIR magazine | The Physique Project |
"ANOTHER" Exhibition
Catalog | Picture Peace Exhibition Catalog | "So far,
So Close" Exhibition Catalog | The Edge Exhibition
Catalog | La
Famiglia - the photobook. ISBN: 1507632150 | GoGay
Israel | Tel Aviv LGBT Film Festival | Divany.hu
Collections:
Private Collections in Israel, USA, Germany, Russia, UK
Education
Yale University. New Haven. 2014. Art Studies.

Sapienza University. Rome. 2013. Art and Architecture
of Italian Renaissance
Studio Gavra School of Photography. 2011-2013.
Professional Photography.

All Rights Reserved
99
Copyrights To Igor Zeiger All Rights Reserved
IGOR ZEIGER
http://www.igorzeiger.com/
e
r
he
W
e
ls
Anatoly Che
Photography Anatoly Che is a still life master - his online
portfolio literally rammed full of stunning, creative images
created from the most ordinary of objects. The talents of
this skillful artist shine through his photography, which
consistently features precise composition and refined
lighting.

111



Copyrights
To Anatoly Che All Rights Reserved
Anatoly Che
https://500px.com/AnatolyChe
AMY KANKA
INNER GARDENS
Copyrights To Amy Kanka All Rights Reserved

AMY KANKA
as way of saying goodbye to

my life in Israel, as well as an
attempt to create something
I can take with me across the
ocean. Through the process of
In the summer of 2015
photographing,
I relocated from our home in
I realized these images capture
Israel to Santa Monica, California. more than things. They capture
While this move holds
my very mixed feelings towards
the promise of many new
this move. Sadness, longing,
opportunities, it also means I
anticipation, excitement and all
have to leave behind my two
the nuances in between.
grown up sons, our house and
In most images, I photographed
garden I have tended for the last seeds symbolizing the separation
10 years.
between mother plant and its
This Inner Garden series started
children as well as a visual
INNER GARDENS
depiction of moving on to new

places a stand in for myself.
I shot this series between
February and May 2015 starting
in the garden and slowly moving
to the bedroom, my goldsmith
studio and my sons room.
While the seeds may seem as
the main actor, for me, it is
the background that plays the
more important role. It is the
background that captures the
color, movement and sometimes
the outline of the things I will not
be able to take with me across
the ocean - the collection of

Alexander Dumas antique books,
the light on my sons pillow,
the afternoon light in the studio,
the sky and lemon tree I see from
the window, the first light filtered
through the white bedroom
curtains.
These are some of the things I
hold dear, and for the next few
years will only be present as
background memories.
"This portfolio is intensely personal,
however the feelings visualized are

universal, part of our shared human
experience, therefore I hope it will resonate
with others as well."


AMY KANKA
INNER GARDENS
http://www.amykankaphotography.com/

Sarit tzabari-tiri
My name is Sarit and I am
36 years old. Married, with a
beautiful little boy.
I am fond of art since
I remember myself photography in particular.
I shoot for nearly a decade.
I like to create special things
almost out of nothing and
always looking for the "perfect" frame.
I like to shoot art, photos, Abstract, Studio project,
Sreet photography and Special Productions.
I studied photography for beginners and then I took
an Advanced Course
The thing that challenges me the most is to create
each time a better image than the other. To the
think about the next project that will Leave me
agape from the new results. Mainly Innovation with
creativity
Copyrights To Sarit tzabari-tiri All Rights Reserved






Sarit tzabari-tiri
mail: sarit037@gmail.com
SHMULIK
BALMAS
SHMULIK
BALMAS
Blooming
Taken In Israel Country Side
"For the presence of light and shade

... I'm thankful
For the movement of my shadow...
I'm grateful.
The world is blessed with life and
nature.
Capturing moments, holding them
longer than a passing glance...
This is a gift for every eye.
Photography is a way to share this
gift with others."
Shmulik Balmas
Born in 1967, Live in Tel-Aviv, Israel
Studied Professional Studio Photography,
Studio Gavra, Tel-Aviv, 2012
Holding B.Sc in Mechanical Eng.
Ben-Gurion University, 1995
Exhibitions:
Portraits Cafe Tam Gallery, Tel-Aviv, 2005, Self exhibition
Nitzolim 2014 Ami-Ad Gallery, Jaffa, 2014, 8/130 Portraits,
Group exhibition
Photography fields: Portraits, Music, Dance, Cultures & Festivals,
Nature & Still Life, Traveling the world.
Copyrights To Shmulik Balmas All Rights Reserved

SHMULIK
BALMAS
Indian Moments
Taken in India, Rajasthan

Copyrights To Shmulik Balmas

All Rights Reserved

168
SHMULIK
BALMAS
Dawn
Taken around a small lake, North Israel

SHMULIK
BALMAS
facebook: Shmulik Balmas Photography
mail: shmulikbalmas@gmail.com

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NEWSSTAND
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READY FOR DINNER

Henry Hargreaves
In the US alone there are over 3 million people
preparing for the end of time, this sub-culture is
known as Doomsday Preppers.
I connected with some of them to discuss their
Armageddon Menu's. They are designed around
their religious beliefs, lifestyles, location, health
and what they think will work on the heels of the
disaster they predict.
Initially I expected this to be a rather sensational
series but as I spoke to some of the subjects I
actually was surprised by the brilliance in their
approach. They have been able to stand back and
see the whole food system form afar and realize in
any kind of disaster the food distribution chain is
the first thing to break and they don't want to be left
vulnerable, if and when it does...
I created dishes that they will potentially be eating
once the system breaks and they have become self
sufficient. Through their choices of these foods I
think their personal story comes to life.
By Henry Hargreaves
Type by Lawler Watkins
READY FOR DINNER

Henry Hargreaves
READY FOR DINNER

Henry Hargreaves
READY FOR DINNER

Henry Hargreaves
READY FOR DINNER

Henry Hargreaves
READY FOR DINNER

Henry Hargreaves
READY FOR DINNER

Henry Hargreaves
http://henryhargreaves.com/
OREN HASSON
Iris to Iris
Copyrights To Oren Hasson All Rights Reserved

I have been a naturalist since childhood and doing

photography throughout my adult life. I received
an M.Sc. Degree at Tel Aviv University on bird
behavior, and a Ph.D. at the University of Arizona
on mathematical modeling of animal courtship.
Shifting to working in front of a computer, or doing
research in a lab, created a hole in me. I turned, to
rescue, to my old love, photography. It gave me the
excuse to go to nature, spend the time, absorb and
create.
I was an autodidact photographer during my teens,
using my parents box camera. However, I began
taking photography seriously at the age of 22, after
permanently borrowing my mothers new Topcon
50 mm fixed lens SLR camera.
I was much influenced by Israels first nature
photographer, Peter Marom, and studied by
heart the exposure information he provided in his
book of Hula: The Dying Lake. I then read every
photography book I could put my hands on. I first
shot photographs exclusively in black and white,
exploiting an abandoned darkroom, I found in Tel
Aviv University, switching only years later to color
slides. At the University of Arizona I permanently
borrowed the single copy of a book demonstrating,
with pages and pages of color tables, the zone
system of color positives - an extremely useful tool
for color slides photography, and an excellent entry
to color management at the celluloid film era. I was
surprised and glad no one else was interested in
that book. Here and there I used photography to
earn some money on photography assignments
and publishing articles in the leading Israeli
photography traveling journal "Massa Acher".
After years of doing research and teaching ecology
and animal behavior I switched to study and teach
human interpersonal communication. I left the
Academia and began practicing couples therapy
using evolutionary psychology and cognitivebehavioral therapy methods. Nevertheless, I still
had to go to nature. I just had to, and photography
has always been an excellent excuse to drive me
away from my routine

duties.
The rise of digital
photography made me
puzzled at first, and I
spent a few years in what
I call "my dormant-inbetween" period. Once
I began to work with
digital photography, my
prior color management
knowledge and ease
with computers had
made this transition a
joy. Finally I have got
the full control over
my photographs I had
always wished for - a
modern darkroom! I
used it for exhibiting my
photography as art in
several group exhibitions
in Israel and abroad, and
in a solo exhibition called
Wrinkles in Time.
Falling in Love
My captivation with
Iris
photography
began during my
dormant-in-between
period, and played
an important role
in motivating me to
make the transition to
digital photography. One spring I hiked
up the Gilboa Mountains, carrying with
me a digital video camera that could
take still photographs of a limited
size, 720x576 pixels. Among the few
photographs I took was of a mutated
Gilboa Iris.
It was the first time I had ever

photographed an iris, and it was this
particular photo of a naked, distorted
individual flower, that took me to
a journey I did not expect. When I
looked at this pinkish small flower on
my computer screen, I found myself
troubled. The image was brutally
intimate, and I felt both attraction
and guilt as if I was invading another
beings privacy. I had to digest those
feelings, and it took me a few years to
do so.
The next time I drove to the

Gilboa mountains during the
iris blooming season, I arrived
with my first digital camera, a
small semi-SLR Canon. This
was to be a short visit and I
took a few photographs of the
last flowering Gilboa iris for that
spring in the reservation. I was
curious again about its hidden
intimacy that was repeatedly
exposed by the wind. Ideas
about iris photography slowly
evolved in my mind during the
next couple of years. Meanwhile,
I had completed my transition
from analog to SLR digital
photography. Eventually, I had
made a decision to embark on an
ambitious adventure: working
on a photography project that
will include all eight species of
iris flowers of Israel that belong
to the Oncocyclus group. All
eight irises are endemic and
endangered. Given how my
passion for iris photography
evolved and crystallized in
the first place, however, I knew this
was not going to be a documentary
photography project. This cannot be
anything but an emotional expedition.
Eye to Eye, Iris to Iris

As I went to photograph irises in their
natural environments, I found myself
attracted to the irises femininity,
and then to their masculinity, but I
was mainly exploring uniqueness of
individual flowers. Soon enough, I found
myself doing portrait photography
of irises. Perhaps not during my first

shooting assignment, but certainly
during the second and through all the
photography trips that followed. There
are no two individual flowers alike, each
having its own a personality. They age
and die differently. They look different
in different lights, sunlight reflecting
or penetrating and sometimes shines
differently from different angles, the
wind changes their appearance from
one second to the next as it blows
through their petals. Some shows
complete color transformation or
distinct mutilation by mutations (as the
white and yellowish Irises shown here),
and others show different degrees

of destruction, given their struggle
with insects, porcupines and Man. I
sometimes stayed for up to three hours
with a single individual flower looking
for a better angle or a different light, or
experimenting with the background
or with a different shooting technique,
sometimes constrained and at other
times aided by the wind. I was intimately
photographing portraits of iris flowers.
At their home I saw them and they saw
me Eye to Eye, Iris to Iris.
Still Life Photography

By shooting flowers in nature, I have
been confronted for some time with the
"Still Life" concept. In nature, flowers
never stay still. This is always true
because the wind blows constantly,
but also because they continue to
grow, mature and wilt. They are living
creatures, and they do it at their own
pace. Traditionally, most artistic
flower photography has been made
in a studio under the umbrella of Still
Life Photography. Certainly, Robert
Mapplethorps book "Flowers" is one of
the best in my library. Yet, another one
is a Georgia O'Keeffe's book, and she
created her art in nature. Knowingly, I
have stretched and explored the Still
Life boundaries. Irises are endangered
species. They are not to be picked up.
One has to go to their home and treat
them with respect and care. Then, they
become so easy, so fast, so colorful yet
capricious, but you never ask them to
stay still.
Techniques
All photographs shown here were
taken digitally, using natural light. The
last three photographs were shot using
a normal to wide focal length, and in
one (the wilting iris) I used a zoom lens
at a 200 mm focal length. The rest of
the photographs here were taken with
a 100 mm fixed Canon macro lens. I
used flash as an aid while shooting at
a slow shutter speed for one photo,
also creating some sparks as the light
bounced back from the flower's petal. I
often used a tripod, or a bag filled with
quinoa.








OREN HASSON
Iris to Iris
https://www.facebook.com/photomanut
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Israeli Lens - August 2015

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FINE ART PHOTOG

The Israeli Magazine for

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Copyrights to Henri Cartier-Bresson

Still Life Photography is the depiction of inanimate

Copyrights To Darrin Haddad All Rights Reserved

DayLight: The most natural form of lighting is

Flash: For full lighting

An off-camera flash gives the

the use of slave units. Because flash

Copyrights To Marcel Christ All Rights Reserved

Many photographers prefer

image through the camera's viewfinder.

use just one light source, multiple lights

Copyrights To Anatoly Che All Rights Reserved

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Did you go to school to learn

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Which photographers influenced

viewer with the lens.

What is your best post processing tip?

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What motivates you to continue taking pictures

Copyrights To Guy Geva. Grape All Rights Reserved

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There is nothing still in his still-life work.

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