Israeli Lens #3 - Light -

Fine Art Photography Magazine

December 2014 #3

Most Influential PHOTOGRAPHERS

Participating Photographers:

Gilad Kavalerchik

Amy Kanka Valadarsky

Aya Ben Ezri

Denis Kravtsov

Sali Petel

Lika Ramati

Naim Sheffer

Nino Herman

Maya Smira

Daniel Klein

Mula Eshet

LIGHT

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I am pleased to present this month’s issue with the main subject: light, which is one of the important “Ingredients”of a good photography. All of the Israeli photographers were chosen to exhibit in this magazine, focused on the light in their photographs, showing light and using light.I am so excited and happy that I am able to show the work of so many amazing photographers, each one in his own field, if it’s the light under water, light in portraits or the light in nature, this magazine presents excellent photographers that their work is shown in exhibitions around the country, the daily newspapers and in the advertising world. I am also proud to exhibit the work of the known photographer Mula Eshet, he is known as one of the most valued photographer who develop the field in Israel from the early 60’.Great Development happened to the Israeli Lens Magazine in the last month, the app of the magazine is now available in the app store for subscriptions and the magazine was defined as one of the best seller in the magzter.com site for digital magazine. We continue to work for the mission to show the art and photography from Israel! Enjoy :)

ABOUT THIS ISSUEIsraeli Art Market

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Israeli Art Market digital magazine and Israeli Lens Digital magazine which are available for download, subscriptions and single issues on Apple Store Newsstand, Magzter.com, issuu.com joomag.com, and available in a Kindle version at amazon.com;

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Sell My ArtThe company specializes in the sale of Israeli art to interior designers, architectural firms and private individuals in Israel.

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Show My WorkA website showcasing over 250 artists, photographers and designers from various disciplines. The site also promotes exhibitions of art and design.

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Contemporary Fine Art Photography MagazineEditor & Founder : Dafna Navarro

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TABLE OF CONTENTS

BE A CONTRIBUTOR [email protected]

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IsraeliArtMarket Tel: +972502343318

6/ A Brief History Of Light & Photography By Robert Leggat

12/ Gilad Kavalerchik

30/ Amy Kanka Valadarsky

44/ Aya Ben Ezri

58/ Denis Kravtsov

74/ Sali Petel

90/ Lika Ramati

106/ Naim Sheffer

118/ Nino Herman

130/ Maya Smira

148/ Daniel Klein

148/ Daniel Klein

162/ Mula Eshet- Light In Fashion

182/ Most Influential Photographers

Sh i r in Neshat

190/ E l sewhere- Cristina Mittermeier

The Highlands Of Papua

Cover Photo: Maya Smira- Quality Prints On Plexiglass . Signed. 50x70cm $2650

Editor & Founder : Dafna Navarro Content Editor : Emma Gotenberg

Graphic Design : Ziv Kay


The New Magazine for Contemporary Fine Art Photography

Available for subscriptions and single Issues at Apple Store Newsstand, Magzter.com, joomag.com, issuu.com, and available in

a Kindle version at amazon.com

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L i g h tBehind every photo there is a story, and like paint on a canvas, we use a combination of different elements for making the photo influence. One of these key ingredients is light. Whether it shows the mood, creates depth, or highlights a subject or an object , the light around you and how you respond to it can often make or break a photo.

Daniel Winter . Quality Print On Photopaper. 90X70cm $250


LIGHTINGIn the early days of photography the only source of light was, of course, the sun, so most photography depended upon long days and good weather. It is said that Rejlander used a cat as a primitive exposure meter: placing the cat where the sitter should be, he judged by looking at its eyes whether it was worth taking any photographs or whether his sitter should go home and wait for better times! The nearer to the birth of photography, the greater the amount of lighting needed, as the first chemical emulsions were very insensitive.The first artificial light photography dates back as far as 1839, when L. Ibbetson used oxy-hydrogen light (also known as limelight) when photographing microscopic objects; he made a daguerreotype in five minutes which, he claimed, would have taken twenty-five minutes in normal daylight.Other possibilities were explored. Nadar, for example, photographed the sewers in Paris, using battery-operated lighting. Later arc-lamps were introduced, but it was not until 1877 that the first studio lit

by electric light was opened by Van der Weyde, who had a studio in Regent Street. Powered by a gas-driven dynamo, the light was sufficient to permit exposures of some 2 to 3 seconds for a carte-de-visite.Soon a number of studios started using arc lighting. One advert (by Arthur Langton, working in Belgravia, London), boldly proclaims:“My electric light installation is perhaps the more powerful in London. Photographs superior to daylight, Pictures can now be taken in any weather and at any time.”More from Arthur Langton›s advertisement:“CAUTION Many photographers advertise ‹portrits taken by electric light› but 9 out of 10 do not possess an electric light, owing to its costlinss they use an inferior and nasty substitute... a pyrotechnic powder which gives off poisonos fumes.”(His spelling, by the way!)In June 1850 an experiment conducted by Fox Talbot, probably using static electricity stored in Leyden jars, was conducted at the Royal Society: a page of The Times was fastened on to a wheel, which then revolved rapidly. Writing about this the following year Fox Talbot stated:

A BRIEF HISTORY OF LIGHT & PHOTOGRAPHY By Robert Leggat


“From this experiment the conclusion...is that it is within our power to obtain pictures of all moving objects....providing we have the means of sufficiently illuminating them with a sudden electric flash.” The object then had been to arrest fast action. A few years later William Crookes, editor of the Photographic News (October 1859) was responding to a query put to him on how to light some caves:“A...brilliant light...can be obtained by burning....magnesium in oxygen. A piece of magnesium wire held by one end in the hand, may be lighted at the other extremity by holding it to a candle... It then burns away of its own accord evolving a light insupportably brilliant to the unprotected eye....”That same year Professor Robert Bunsen (of Bunsen burner fame) was also advocating the use of magnesium. The first portrait using magnesium was taken by Alfred Brothers of Manchester (22 February 1864); some of the results of his experiments

may be found in the Manchester Museum of Science and Technology. It was however very expensive at that time and did not come into general use until there was a dramatic fall in the cost of magnesium a decade later. This, coupled with the introduction of dry plates in the 80s soon led to the introduction of magnesium flashlamps. They all used the same principle: a small amount of this powder would be blown, using a small rubber pump, through a spirit flame, producing a bright flash lasting about 1/15s. It also produced much smoke and ash!Then in the late 1880s it was discovered that magnesium powder, if mixed with an oxidising agent such as potassium chlorate, would ignite with very little persuasion. This led to the introduction of flash powder. It would be spread on a metal dish the flash powder would be set of by percussion - sparks from a flint wheel, electrical fuse or just by applying a taper. However the explosive flashpowder could



be quite dangerous if misused. This was not really superseded until the invention of the flashbulb in the late 1920s.Early flash photography was not synchronised. This meant that one had to put a camera on a tripod, open the shutter, trigger the flash, and close the shutter again - a technique known as open flash.Certainly early flash photography could be a hazardous business. It is said, for example, that Riis, working during this period, twice managed to set the places he was photographing on fire!In fact, the “open flash” technique, with flash powder, was still being used by some photographers until the 1950s. This was particularly so when, for example, a large building was being photographed; with someone operating the shutter for multiple exposures, it was possible to use the flash at different places, to provide more even illumination.By varying the amount of grammes of flash-powder, the distance covered could also be varied. To give some idea, using a

panchromatic film of about 25ASA and open flash technique, at f8, a measure of 0.1 grammes of flash would permit the flash-subject idstance to be about 8 feet, whilst 2.0 grammes would permit an exposure 30 feet away. The earliest known flash bulb was described in 1883. It consisted of a two pint stoppered bottle which had white paper stuck on it to act as a reflector. To set the flash off, a spiral of ten or so inches of magnesium on a wire skewer was pre-lighted and plunged into the oxygen.It was not to be until 1927 that the simple flash-bulb was to appear, and 1931 when Harold Egerton produced the first electronic flash tube.

I am indebted to the late Arthur Gill, FRPS, a leading member of the Royal Photographic Society’s Historical Group, for much of this information.© Robert Leggat, 2006.



THE FUNDAMENTALS OF SEEING LIGHT:

Exposure: The amount of light captured in a photograph, and how to control it.

Quality: How “soft” or “hard” the light is, and the difference between “warm” and “cool” light.

Direction: The position of the light source relative to the scene.

Shadows and highlights: The darkest and brightest regions in a photo, where details become obscured.




GILAD KAVALERCHIK

My name is Gilad Kavalerchik (35) married +2My Professional photography began at the age of 21 at “Yedioth Ahronot” local newspapers and after a year I moved to “Yedioth Ahronoth” the Daily newspaper as News / Sports photographer.Today I am a freelance photographer but still works as a photo editor in “Yedioth Ahronoth”. A few years ago, I started giving more Focus on sports photography and for underwater photography in particular.My work published five times in “local testimony” in the sports category (also this year with a series of of lifters portraits). Enjoy :)


Gilad Kavalerchik -Quality Print (C-Print). Signed And Numbered, From A Series Of 20 Units Only. 40x60cm- $800, 80x120cm- $1600




























AMY KANKA VALADARSKY

My intent is to create fine art photography. I always felt at home in the nature there for it is not surprising that my photography gravitated towards natural environments from my very first intentional photographs. I was never really interested in documenting

what I see. In my first photography project I had to create a series of images depicting ‘a sense of place’. Inspired by the story of Peter Pan in Kensington gardens, I created a set of garden magic images, shooting in my back yard. The more I photograph, the less interested

“Which of my photographs is my favorite? The one I’m going to take tomorrow.”


I am in showing reality as it is. It is the boundaries between what is real and what can be imagined that excite me. Exploring the definition of “real”. The intersection of nature, mystery and art.

Is a reflection in a pond real? Of course it is, but the water ripples make the reflected trees look very different than what we are used to see. So which form is real, the one on the ground or the reflected one? If both are, doesn’t it mean reality is much bigger than what we usually assume? I discovered that the camera allows to capture the essence of things, not just their details. After years of visiting

museums, I start understanding the strength of abstract art, which sometimes hides or manipulates the details thus directing our mind to the artist’s main message.

Hadas Zubari@


Amy Kanka- Signed And Numbered. Limited Edition Of 10. Archival Pigment Print On Fine Art Paper.40X60cm- $350 , 42X28cm- $200


Photography

Photography for me is first and foremost an internal journey. Ernst

Haas expressed this in a much better way than I ever could -

“we see what we know until we know who we are, then we see what we feel”.



Amy Kanka- Signed And Numbered. Limited Edition Of 10. Archival Pigment Print On Fine Art Paper.40X60cm- $350 , 42X28cm- $200

Copyright to Dafna Navarro. Israeli Art Market © 2014, All rights reserved. No part of this magazine may be re-used without the written permission of the publisher. The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.

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Israeli Lens #3 - Light -