Israeli Lens Issue#11 Still Life Photography

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We are proud and excited to present the special issue of Still Life Photography. A beautiful showcase of great photographers from Israel and abroad. Still Life in all of its fields, from the artistic photography, to the advertising field. We wish you pleasant reading and enjoyment from this excellent Magazine.


<ul><li><p>Fine Art Photography Magazine</p><p>August#11</p><p>STILL LIFE</p><p>GUY GEVA MARCEL CHRIST ANDREY POVAROV MAGDA INDIGO IGOR ZEIGER ANATOLY CHE AMY KANKA OREN HASSON SHMULIK BALMAS HENRY HARGREAVES SARIT TZABARI -TIRI</p></li><li><p>2Israeli Art Market</p><p>The company has three business lines which include: which showcases the top Israeli artists and photographers, Exhibit contemporary art and Judaica Art for sale; </p><p>Israeli Art Market digital magazine and Israeli Lens Digital magazine which are available for download, subscriptions and single issues on Apple Store Newsstand, Google Play app,,,, and available in a Kindle version at; </p><p> Facebook Page: Instagram:</p><p>Sell My ArtThe company specializes in the sale of Israeli art to interior designers, architectural firms and private individuals in Israel.</p><p> Page:</p><p>Show My WorkA website showcasing over 250 artists, photographers and designers from various disciplines. The site also promotes exhibitions of art and design.</p><p> Facebook Page:</p><p>Editor &amp; Founder : Dafna Navarro</p><p>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 &amp; 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 </p><p>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.</p><p>Dafna is the CEO, Founder&amp;Editor of Israeli Art Market, Israeli Art Market's Magazine, Israeli Lens Magazine, Sell My Art and Show My Work.</p></li><li><p>3</p><p>BE A CONTRIBUTOR</p><p> mail: </p><p>Facebook Page:</p><p>IsraeliArtMarket Tel: +972502343318</p><p>Cover Photo: Copyrights To Sarit Tzabari-Tiri @ </p><p>All Rights Reserved</p><p>Editor &amp; Founder : Dafna Navarro Content Editor : Emma Gotenberg </p><p>Graphic Design : Ziv Kay </p><p>Follow Us On Instagram</p><p>Copyrights To Magda Indigo @ All Rights Reserved</p></li><li><p>4</p><p>TABLE OF CONTENTS</p><p>08/ About Still Life Photography 18/ Guy Geva - At Death's Door 38/ Most Influential Photographer Marcel Christ</p><p>60/ Andrey Povarov 72/ Elsewhere - Magda Indigo "My Photographic Journey..." </p><p>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</p></li><li><p>5</p></li><li><p>6</p><p>The Israeli Magazine for Contemporary Fine Art Photography </p><p>Available for subscriptions and single Issues on Apple Store Newsstand, Google Play,,, </p><p>, and available in a Kindle version on Available in a Print Version By in U.S.A</p><p>Follow Us On Instagram</p><p>FINE ART PHOTOGRAPHY MAGAZINE</p><p>Cop</p><p>yrig</p><p>hts </p><p>To M</p><p>agda</p><p> Ind</p><p>igo </p><p> A</p><p>ll Rig</p><p>hts </p><p>Rese</p><p>rved</p></li><li><p>7</p><p>FINE ART PHOTOGRAPHY MAGAZINE</p></li><li><p>8</p><p>STILL LIFE PHOTOGRAPHY</p><p>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 lifes1: 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.)</p><p>Copyrights To Marcel Christ All Rights Reserved</p></li><li><p>9http://israeliartmarket.comCopyrights to Henri Cartier-Bresson </p></li><li><p>10</p><p>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.</p><p>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.</p><p>WHA</p><p>T IS STILL LIFE </p><p>PHOTOGRAPHY</p><p>Copyrights To SHMULIK BALMAS All Rights Reserved</p></li><li><p>11</p></li><li><p>12</p><p>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.</p><p>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.</p><p>Cop</p><p>yrig</p><p>hts </p><p>To D</p><p>arrin </p><p>Had</p><p>dad </p><p> A</p><p>ll Rig</p><p>hts </p><p>Rese</p><p>rved</p></li><li><p>13http://israeliartmarket.comCopyrights to Christopher Anderson </p><p>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.</p><p>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.</p><p>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 </p><p>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.</p></li><li><p>14</p><p>Cop</p><p>yrig</p><p>hts </p><p>To M</p><p>arce</p><p>l Ch</p><p>rist</p><p> A</p><p>ll Rig</p><p>hts </p><p>Rese</p><p>rved</p></li><li><p>15</p><p>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 </p><p>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 </p></li><li><p>16</p><p>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 </p><p>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 @</p><p>Copyrights To Anatoly Che All Rights Reserved</p></li><li><p>17</p></li><li><p>18</p></li><li><p>19</p><p>GUY GEVAAt Death's Door</p><p>Copyrights To Guy Geva. Amaryllis All Rights Reserved</p></li><li><p>20</p><p>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 itLoss of colors and energy, slow dying, withering, weakeningAt 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 colorsWhich 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.</p><p>GUY GEVAAt Death's Door</p><p>Nikon D600Tokina 100 f/2.8 AT-X macro AF-D Pro1/160. f/18. ISO-100. white balance-4170</p></li><li><p>21http://israeliartmarket.comCopyrights To Guy Geva. Holy Thistle All Rights Reserved</p></li><li><p>22</p><p>Cop</p><p>yrig</p><p>hts </p><p>To G</p><p>uy G</p><p>eva.</p><p> Pom</p><p>egra</p><p>nate</p><p> A</p><p>ll Rig</p><p>hts </p></li><li><p>23</p></li><li><p>24</p><p>An Interview withGUY GEVA</p><p>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. </p><p>My photography works include nature and studio photography.</p><p>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.</p></li><li><p>25</p><p>An Interview with</p><p>Copyrights To Guy Geva. Carob All Rights Reserved</p></li><li><p>26</p><p>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.</p><p>Describe...</p></li></ul>