ProgressivE-zine #15 Israeli Photographers

Israeli Photographers Anat Shushan, Aviram Bar-Akiva, Bruno Lavi, Corinne Spector, Dafna Yosha, Dana Caspi, Dov Oron, Gabi Ben Avraham, Ilan Ben Yehuda, Kevin Unger, Lil Steinberg, Maya Rahamim, Miki Schauder, Neta Dekel, Ohad Aviv, Omri Shomer, Ori Levi, Orna Naor, Raviv Meyouhas, Sagi Kortler, Shimi Cohen, Vered Sadot, Yael Gadot, Yulia Olshansky, Zohar Ferro

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Editorial Team Batsceba Hardy - chief editor Michael Kennedy Fabio Balestra Keef Charles and in this issue Shimi Cohen

Cover Shimi Cohen

Design Batsceba Hardy Massimo Giacci

The photographs in this magazine are realized by capturing moments of daily life in public places and have been realized without a lucrative purpose with exclusively cultural and artistic intent.

All articles and illustrations contained in the magazine are subjected to copyright.

Any form of utilization beyond the narrow limits imposed by the law of copyright and without the express permission of the publisher is forbidden and will be prosecuted.

This applies particularly to reproduction, microfilming or the storage and processing in electronic system.

Enquiries or material for publication are welcome.

We assume no responsibility for unsolicited materials.

- Adult Content Š 2020

Israeli Photographers Anat Shushan, Aviram Bar-Akiva, Bruno Lavi, Corinne Spector, Dafna Yosha, Dana Caspi, Dov Oron, Gabi Ben Avraham, Ilan Ben Yehuda, Kevin Unger, Lil Steinberg, Maya Rahamim, Miki Schauder, Neta Dekel, Ohad Aviv, Omri Shomer, Ori Levi, Orna Naor, Raviv Meyouhas, Sagi Kortler, Shimi Cohen, Vered Sadot, Yael Gadot, Yulia Olshansky, Zohar Ferro

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The idea that all Israelis are villains is a childish idea.

Israel is the most deeply divided, argumentative society.

You'll never find two Israelis that agree with one another - it's hard to find even one who agrees with himself or herself.

Amos Oz

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16/21

22/29

30/37

38/43

Anat Shushan

Aviram Bar-Akiva

Bruno Lavi

Corinne Spector

Dafna Yosha

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52/59

60/67

68/75

76/83

Dana Caspi

Dov Oron

Gabi Ben Avraham

Ilan Ben Yehuda

Kevin Unger

84/93

94/101

102/109

110/119

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Lil Steinberg

Maya Rahamim

Miki Shauder

Neta Dekel

Ohad Aviv

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136/145

146/153

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Omri Shomer

Ori Levi

Orna Naor

Raviv Meyouhas

Sagi Kortler

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180/187

188/193

194/199

200/206

Shimi Cohen

Vered Sadot

Yael Gadot

Yulia Olshansky

Zohar Ferro

Anat Shushan I was born in Haifa 47 years ago and I currently live in Haifa

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Because of the nature of this country, small with a lot going on all the time… big diversity in religions, people, characters … there’s always something interesting to shoot. It’s very dynamic.

And there are endless locations for photography. It’s heaven on earth for street photographers here, and street photography combines so well with the nature of the people here.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

The light here is amazing. Israel is blessed with sunlight. We have great light throughout most of the year. It ignites both the imagination and the eye. Also, since this is a small country and most street photographers know each other personally, the influence is always there.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Wow, we are truly blessed in this way. We are constantly exposed to very interesting religious ceremonies and traditions.

Photography opens our eyes and knowledge to opportunities that we would not get without photography. Since we are always looking for interesting and exciting things to shoot, we find them. It’s all there.

I am very grateful for that! I have the honor to get to know the three religions, including Judaism, on a much deeper level thanks to photography.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I’m not sure where is the greatest activity. Both cities have so much to offer for street photography: endless possibilities, locations, and atmosphere.

For me, shooting in Tel Aviv is more common. Jerusalem offers something special. There’s something spiritual about the city, with an amazing diversity of characters. To photograph in Jerusalem is always an experience I appreciate.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I love Israeli photographers! We really have incredible street photographers here. Some of them really influence me, and the way I regard street photography. Since we are very much involved with what’s happening in our country, we are very connected to it — and to each other. This also affects the way we see things through the lens. Many of us have the need to really be in the frame, become a part of it, put ourselves in the story.

But at the end, each of us — myself included, finds our own language, our own point of view.

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Anat Shushan

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Anat Shushan

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Well, Israel is my home. Obviously I feel very comfortable here, and I am familiar with the sites and the places. But still, thanks to being a street photographer, I get to places where I believe I would have never experienced.

When I’m shooting in other countries it’s a different story. It’s experiencing totally different cultures, people, places and atmospheres. It’s seeing things from a different perspective.

Everything is new, everything is different. And from each trip I take something, I learn, I breathe different air and I’m exposed to things I’ve never seen. In a way, it’s more challenging to be able to show in photos the spirit and soul of a place I don’t really know.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I think it affects street photography all over the world, not just in Israel. Digital photography provides a wide range of possibilities. The technical quality is so much better, and has a lot of advantages.

However, in a way this hurts the natural instincts. When I was shooting with my analog camera, I couldn’t take an endless amount of photos. I had to be more focused, and be able to get the frame I wanted in one click. This is the way I still shoot today with my digital camera. I feel lucky to have experienced photography the way it once was, this helps me understand better the soul of photography, of capturing the moment.

- What is your camera of choice for street photography?

A Fuji X-T2.

- What is your favorite technique (lens choice … fillflash)? A Fuji 18-55mm zoom lens.

- How do you manage color and B/W? My first priority is B/W. This is how I see the images in my head before shooting them. My view screen in my camera is set to B/W. But sometimes there are frames that just have to be in colour. For example, when I was in Zanzibar, it brought out the colour in me. Most of my photos from there are in colour. It was impossible not to show the colours of that place. In all aspects.

- What is your primary software for post-production?

Lightroom.

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Anat Shushan

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Anat Shushan

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Anat Shushan

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Anat Shushan

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Anat Shushan

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Anat Shushan

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Aviram Bar-Akiva I was born in Tel Aviv 45 years ago and I currently live in Tel Aviv

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

It is by the nature of Israeli to be curious and to do.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I don’t think so. I believe it is a photographer’s skill to capture light at its best and according to the photographer desire to show it to the viewer. Geography and light at a certain place can help, but it is the photographer’s skill and knowledge that shine it through and gives it meaning.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

The difference is obvious, while Jerusalem is the holy city for the three biggest religions in the world it is there where you can catch many religious sightings and ceremonies. Religion is well represented in all of the streets of Jersualem and with it the contradictions and tension that religion can have on the streets of a city. Tel Aviv on the other hand is secular in most part and known for its wild street life not only during the day but also during night time. For me, I prefer Tel Aviv, not only because it is my home city, where I was born, raised and also live in nowdays. I evolved with this city, know all of its layers, past, present and future, therefore I don’t feel like a traveler in Tel-Aviv and I feel comfortable in its streets.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I believe that I can take on a global identity. My photography is not based on a certain place or country, it is about people and senses so I don’t feel confined to a specific place.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

I am not a fond of crowded photography ceremonies, so I rarely go and participate in those. It does not show in my

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Aviram Bar-Akiva

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Aviram Bar-Akiva

photography as a major subject. If I do come to a ceremony or event that has a lot interest, first I try to figure how to transfer that feeling of the event by my way of photographing, and second I try to look for side stories and more personal angle of that event, rather than giving a direct report of that event.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Photographing in Israel is unique, that’s for sure. The street scene is very intense, not only as a photographer, but as a passer-through as well. Carrying a camera is a bonus for that matter since one can capture and transmit the sense of the streets to others. This feeling of mixed senses, emotions and elevated alertness is something common to few certain places world-wide. I only felt the same in New York, London or Tokyo, all other places I visited were more relaxed and the vibes were lower than here in Israel. And when the vibes are low and slow, the intensity of street photography is also reduced, resulting in different results.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I don’t shoot analog so I can not answer this.

- What is your camera of choice for street photography?

A Leica M rangefinder.

- What is your favorite technique (lens choice ‌ fillflash)? On the street, I use 35mm focal length, aperture on f8.0 unless lighting and exposure direct me to go lower.

- How do you manage color and B/W? Depends on the situation, recently I try to get color frames and going back to B/W, if something is bothering me with the color choice.

- What is your primary software for post-production?

Lightroom.

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Aviram Bar-Akiva

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Aviram Bar-Akiva

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Bruno Lavi I was born in Romania 54 years ago and I currently live in Tel Aviv

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Israel, despite being a small country, has a human, geographical, cultural, religious and political diversity that stems from such a rich and profound history. All these and more are an outstanding platform for street photography.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Chiaroscuro finds its place naturally when it comes to Jerusalem streets, yet it is also an excellent artistic method to satisfy the photographer's desire to express the multidimensionality of the Israeli street, especially its depth.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What's the difference for you?

I cannot define where Israeli street photographers are most active, yet it’s clear that the Jerusalem area offers countless possibilities because of the historical and cultural depths that require its documentation by all artistic means.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

There are many great street photographers in Israel, and so much to learn from each one. I hope that I am able to express myself independently, and my work is recognized as belonging to me.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Israel is the country in which the three Abrahamic religions flourish and vibrate forever. This context offers the street photographer an infinite number of opportunities where the camera can be a perfect tool for appreciating the complexity of Israel.

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Bruno Lavi

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Bruno Lavi

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

In other countries, I am able to let the street lead and guide me without any deepening or learning before taking pictures.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I believe that most of the street photography in Israel is made digitally and not analog anymore.

- What is your camera of choice for street photography?

A Sony 7r IV. - What is your favorite technique (lens choice ‌ fillflash)? No flash, just a Sony 24-70mm zoom lens.

- How do you manage color and B/W? Depends, some of my work is better in B/W; others in color.

- What is your primary software for post-production?

Lightroom.

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Bruno Lavi

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Bruno Lavi

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Bruno Lavi

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Bruno Lavi

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Corinne Spector I was born 58 years ago, I grew up in Bat Yam and I currently live in Shoham

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Why is there such a great deal of street photography in Israel?

A lot of daily life here takes place outside and in public, gatherings of friends, eating, weddings and funerals, celebrations of all kinds. This is in part because of the good weather we have during most of the winter, and in the summertime, people are out a lot in the early mornings, late afternoons and evenings, because it is hot during mid-day. I think street photography is particularly strong here because of the fast pace of life and the constant change that takes place here — from almost nothing 70 years ago to a (mostly) modern economy that we have now, yet sometimes we still see bits of the old world — a donkey with a cart, ancient architecture alongside the new, churches, mosques and synagogues not far from one another…

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

As a hot country, with a great deal of direct and strong light, we are intrigued by the quick time frames when there is weak light — at sunrise and twilight, sunset or in alleyways.

Otherwise, we have far too much light to get any kind of subtle effects.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

The best street photography here is everywhere — each city is unique and has different kinds of action. In towns there is also a lot to photograph — there is more color than in the cities.

In Tel Aviv, people are more homogeneous just like other countries; Jerusalem is unique in that there are many kinds of populations and religions with their unique clothing on the backdrop of churches and mosques. Jerusalem stone turns golden in the late afternoon light and makes a wonderful background to everything that happens. I had the opportunity to take photos in Jerusalem over a period of 24 hours and it was an amazing experience.

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Corinne Spector

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Corinne Spector

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

All Israeli photographers do not take the same photos; we are each unique in how we take pictures and how we see things — each is from a different background, place and culture and with different preferences — some want to be active observers and others are more passive. I often enjoy taking pictures with my colleagues, on a weekly basis and am inspired and amazed at how we see different things 5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

In addition to each of the three major religions, each one has several of its own groups — for example, the Ethiopian Jews or the Russian Jews, the Moroccans, or the different customs by age groups in each religion.

There are so many different ways that something like a wedding may be celebrated. On our calendars, we see all of the holidays of each religion and so we can go to see this in real life as well. How do the religious Jews celebrate the same holiday as the secular ones? How do they cut the hair of their sons for the first time at age three? The many tribes that existed still have the last breaths of their ceremonies, so we try to travel everywhere to capture these.

impatient, and not necessarily better photographers. We have so many photographers, both professional and amateurs with their excellent mobile phone cameras, and this means we have a great pool of excellent photographers — how can you make your mark and stand out here when it is very small and crowded with incredibly creative people? I spend a lot of time getting other photographers out of the frame!

- What is your camera of choice for street photography?

A Sony 7R3.

- What is your favorite technique (lens choice … fillflash)? My favorite is a 24-70 mm zoom lens.

- How do you manage color and B/W? It depends. I enjoy both color and B/W; I often check a picture in each and decide which is best.

- What is your primary software for post-production? I use Lightroom and Photoshop.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I travel within Israel all the time because this is a small, familiar country. People of all kinds are friendly and happy to allow you to share in their lives and so it is very interesting. We have cities, kibbutzim, and other varieties of towns and villages, and deserts, forests and different bodies of water; there is so much variety here. Different.

I also travel outside of Israel to take photos, and I find that the cultures and languages and foods and day to day habits are different. I am always thrilled to see these differences but also realize that things are becoming more and more similar, and that time is running out to document the remaining differences. I am also amazed how daily life can take place in spots I would never imagine — in a cemetery or under bridges, on the margins of a town or city, in what seems to be garbage dumps. I see a great deal of happiness often in places I wouldn’t expect.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

The ridiculous ease of clicking the shutter with digital photography is a nightmare for us now; to choose the one photo and erase all the others, to find the small difference in a moment and just trying to float in this sea makes us more

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Corinne Spector

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Corinne Spector

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Corinne Spector

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Corinne Spector

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Dafna Yosha I was born 48 years ago. I grew up in Rehovot, and currently live in Gedera

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I agree that in NY and Seoul the culture of street photography is flourishing, yet I don’t think population size is the issue.

Culture and community are more significant. It is much easier to photograph in a big crowded city than in small close towns outside the main cities here like TLV and Jerusalem.

different angles of photography, stories, and emotions. Usually, I'm just wandering, and not take any photo until something catches my attention.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I don't know...

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What's the difference for you?

There is a big difference between those two cities — TLV is very vivid colorful and free, Jerusalem in the areas that I usually go for photography is a very closed orthodox and strict community. I love to go between those two according to my mood, holidays or some unique events. I feel much more focused in Jerusalem. In Tel Aviv I have much more fun ...

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I love art of all kinds and experiences — and not simply by quality and emotions. The nationality of the artist is less important at the beginning, if it is interesting to me to know him and read about the arts adds a lot to understand. But if we focus on photojournalism, I can understand the issues and the stories behind the images more than people outside Israel because it is my reality and it is not mediated by the press.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Jerusalem is an amazing city in all aspects: culture, history, people and more. I really love seeing all kinds of ceremonies and repeat arriving every time that I can. But every time that I arrive, especially if I already experienced it before and know how the event will progress, I try to find something different:

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Dafna Yosha

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Dafna Yosha

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Most important is to keep it very honest and respectable to the people in my photos, not to show people in their weakness or embarrassing moments, and if I follow this rule it is not important where I’m wandering.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I’m not an expert … but the digital revolution around the world creates a different approach to the minute of taking the images — less thinking and less preciseness.

- What is your camera of choice for street photography?

The Fuji X-T2.

- How do you manage color and B/W? Usually, my choice is B/W for street photography, and color for my family photos, but this is just a general rule.

- What is your primary software for post-production?

Lightroom only, and the minimum editing required.

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Dafna Yosha

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Dafna Yosha

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Dana Caspi I was born 41-years-ago, and grew up in Ra'anana, a small city, 30 minutes from Tel Aviv. These days I live in Herzliya, not so far from the place I grew up.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Israel is a small country yet complex and diverse. We are a young country and people came not so long ago from many places around the world, so Israel is multi-cultural.

Additionally, Israel has many holy places for three major religions: Judaism, Christianity and Islam.

Since I was young, I have been attracted by different cultures.

In Israel, I can always find customs and ceremonies, I know nothing about.

The pluralism of Israel helps explain why street photography flourishes here.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Many street photographers here use chiaroscuro. where you can find places that you can do amazing games with light.

However, it’s more about photography influences than geography.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

Tel Aviv and Jerusalem are both great playgrounds for street photography — yet they are very different.

Tel Aviv is a great modern city. We call it “The City that doesn’t sleep”, because whenever you go, it’s alive and vibrant. There are always many people out and about, and when there are people, there are stories.

Jerusalem, however, is a different story because of its stature as a holy city.

When I visit Tel Aviv, it is culturally similar to mine - yet Jerusalem has many mysteries that intrigue me.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

There are many great Israeli street photographers, with some I can really identify, admire and even learn from, but when I look at myself as a photographer I don’t identify with nationality. For me, where there are people, there are stories to tell … and people are everywhere.

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Dana Caspi

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Dana Caspi

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

As mentioned previously, I have always been attracted to know more about the “other,” and the different, so Jerusalem and especially its religious ceremonies are perfect for me to explore and learn. I was born and raised as a secular Jew, so for me, even the Jewish religious ceremonies or even communities are unfamiliar and intriguing.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I am not quite sure how to respond because I wasn’t a photographer yet in the analog era. Regardless, the digital technology has made photography much more accessible for a lot more people.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I believe that the only way to tell the story of our world is through its people; so I always address people with dignity and humanity. I don’t want to create the feeling of a hunter trying to catch his prey, so I prefer to get closer to my objects of photography, sometimes even to connect with them and to get to know them and sometimes just to get closer so I can almost imagine them telling me their stories.

I have always loved traveling, even before I started to shoot pictures and what's better than that? My two big loves fit perfectly together. I try to travel as much as I can, and especially to places that are culturally different from mine.

It is more appealing for me to shoot pictures in other countries because everything there is new and strange for me so all my senses are working and my body, mind and soul are all in excitement.

This excitement passes through my camera into my pictures.

Surprisingly, I also find it mentally easier for me to shoot a picture abroad rather than in Israel. Maybe this is because it’s less threatening for people to see a tourist with a camera than someone from their own country.

- What is your camera of choice for street photography?

I use my Nikon or my Fuji when I shoot on the street. I prefer wide lenses because I want to be as closest to my objects, almost feel like one with them.

- How do you manage color and B/W? The most important thing is to convey a story, so if the color can distract the eye from the story, I will use B/W, but only if its part from the story I will use it.

- What is your primary software for post-production?

I mostly use Lightroom.

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Dana Caspi

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Dana Caspi

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Dana Caspi

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Dana Caspi

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Dov Oron I was born 57 years ago, I grew up in Tel Aviv and I currently live in a small town, Karnei Shomron, and it's been my home nearly 30 years.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I'm not sure there are more street photographers in Israel than in New York, but maybe it appeals more both to the nature and culture of both photographers and people on the street in Israel. Israel is a small country, so small there isn't enough space on the world map to write its whole name, but it's full of opposites, even contradictions, and we come from all over the world. In addition we are a very open, even direct society, and very warm hearted underneath so interactions are truthful, revealing and abundant, both between people on the street, and between them and photographers. That's what makes it so unique, vibrant, interesting and full of life. We also like a good challenge, intellectually and artistically, we love to improvise, and the street described above offers plenty of those.

foresee, them happening. Of course, the more crowded the more eventful, so naturally Tel Aviv and Jerusalem are the two most common places to go to, but there are many other places too. Places with specific cultural and religious societies live, like the ultra orthodox neighbourhoods of Bnei Brak, Jerusalem and more, and Druze, Bedouin and Arab towns and villages.

The larger urban cities are more cosmopolitan in nature, with the exception, maybe, of the unique Jerusalem. The smaller towns and villages are more unique, and each form has it's place in my street photography.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

In most cases I look at the street photo as it is, regardless of the nationality of the photographer. There are a few cases when

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I wouldn't say geography is destiny, but a photographer has to learn how to utilize the conditions he works in, in the best possible way. Israel is a Mediterranean country, with a long summer and many hours of strong and direct sunlight each day. There is nearly no spring and autumn, and twilight is shorter than in places further away from the equator. Add to this the fact that many streets and markets are narrow and have high buildings, and the result is that strong light and shadow become a significant factor in what you see when walking about. Some would be deterred by these conditions, for me they are a challenge. These dynamics are part of story I see and want to tell with my photos. A lot of the drama in day life scenes is conveyed, even emphasized, by the light and shadow, hence the use of it becomes an important part of my photography. I can't speak for others, but I suppose it's the logical way of dealing with the conditions in Israel. Light is always fascinating and I always look for it in a frame, so strong light has a strong fascination.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I think street photography is relevant on every street, things happen everywhere, you just have to see, and sometimes

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Dov Oron

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Dov Oron

you can recognize that a shot was taken by an Israeli because he connects in a unique way to the scene, it's tempo and character, maybe because he shares that character.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

I haven't taken many shots in religious ceremonies. In my opinion a good shot of these events is one that not only describes the events but conveys the spirituality and holiness of the occasion. Many shots only describe and show what is happening, and when one succeeds in conveying the spirituality and emotion, it is so powerful and intimate, that I feel it's 'sacrilege' to share it on the web. Many ceremonies are on Saturdays and Jewish holidays, and on these days I don't take pictures.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I always try to connect with the local people, even try to learn a bit of their language, before starting to shoot. I want not only to see but to understand a little more about the place and it's people. You look at things more from within than from without this way. Because this is important to me I think I understand my fellow countrymen, all religions and nationalities included, better and deeper so I can relate to what I see more profoundly. When I take shots in Israel, especially in places steeped with history like Jerusalem, I feel a link in a 3000 year old chain. This is a feeling one can only feel in at home in Israel. On the other hand, different cultures stimulate interest and can sharpen the senses. Other than that, as I said before a street is a street and people are people all over the world.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Nearly all the street photography I know is digital, with only a very few examples of analogue shooters.

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- What is your camera of choice for street photography?

Until recently I was using an Olympus OMD E5 mark II, mostly with a Panasonic 20mm/1.7 lens, and sometimes the Olympus 12-40/2.8. I received a Fuji X-T20 with the Fuji 18-55 lens a few months ago, and since than it has become my main tool, with the Fuji 23mm f2.

- What is your favorite technique (lens choice ‌ fillflash)? Fuji 18 or 23 mm lenses, Manual or Aperture mode, metering to the light, or if metering generally underexposing a little, f5.6-11 depending on light. Nearly always jpegs. Only in very challenging conditions I turn to RAW. Prefer shutter speeds 160 and above on the street, to freeze movement, but am not afraid to take shots of nonmoving subjects at up to 1/4s, especially with the Olympus.

- How do you manage color and B/W? Around 90% of my shots are shot in colour, but I see things in B/W most of the time, and convert the shots to B/W in pp. With the fuji film simulations I shoot more B/W jpegs than before, but still prefer to have both options. There are shots where colour is part of the story, and some where it is a distraction. The majority of my completed works are in B/W but lately the size of this majority has become smaller.

- What is your primary software for post-production?

Photoshop cs6.

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Gabi Ben-Avraham I was born 59 years ago, I grew up and still live in Tel Aviv 1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Street photography is extremely popular these days — sort of fashion. Photography is the most common hobby in the world, and it is really simple and easy to get around in urban areas.

In Israel there is indeed a large community of street photographers, but in my opinion it is no larger than that of New York. I do not know Seoul.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Sometimes I shoot analog, but most of my work is with digital camera.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Of course geography matters. Israel is a very sunny country and therefore challenging. This use of light is part of the photographic language and the personal style.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

Most of the activity is in Tel Aviv and Jerusalem but it is really meaningless. There are many attractive places to shoot. For me Tel Aviv is my home town, therefore I shoot mainly there.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am not sure I understood the question; I do not have an Israeli identity in my photos.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

As a sacred place for the three capital religions, there are a lot of ceremonies held in Israel. I do not document them but rather try to find special moments or characters in order to build a story, as in theatre.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

There is no difference in my method of work, style or shooting objects when I am abroad.

The advantage of shooting in my city is obvious — it is my home court. Distant locations are more of a challenge for me and arouse my curiosity.

- What is your camera of choice for street photography?

I personally use Fuji X-T3 cam but I believe it does not matter which cam, as long as it is comfortable — it is a working tool no more.

- What is your favorite technique (lens choice … fillflash)? I shoot only with prime lenses, usually 28 mm, Never use flash.

- How do you manage color and B/W? In the past I shot only Black and White, nowadays I shoot mainly color.

- What is your primary software for post-production?

Lightroom.

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Ilan Ben Yehuda I was born 59 years ago, I grew up in the city of Ramat Gan and I currently live there

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I think we have a great photography tradition that comes with the birth of the State of Israel. Many Jewish photographers came to Israel from Europe, especially from Germany and Russia. We have also a great street photographer Alex Liebeck who inspires us all. In addition, the Israeli street is very open and free for photography from other places in the world.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Yes it mainly a geographic destiny. The light is so strong in Israel so it's impossible to create a simple photograph balanced that you can see clearly the photographed object. it's also become fashionable all over the world to shoot in high contrast of light and shade.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

The major activity of street photography is in Tel Aviv. for me, I split my work to Tel Aviv and Jerusalem. In Tel Aviv, I usually shoot in the seacoast and the Carmel market. In Jerusalem, I am shooting at Mea Shearim and the old city. in Tel Aviv, it's for me is taking pictures of the free secular world. In Jerusalem it is taking photos of the orthodox Jewish world and Christians pilgrims.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

Really have respect to some Israeli photographers as Gabi Ben Avraham, Sagi Korter, Shlomy Evron and Barry Talis. They really influence my work. Hope I have a kind of influence on their work too.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

I usually take pictures at the Christians and Jewish holy days in Jerusalem. My observation of these ceremonies is ironic.

I usually look in these ceremonies for the strange human behaviour and interesting compositions that reflect my thoughts on religion.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

When I visit other places, I try to study the attitude of the residents on street photography to know how close I can get and interact with the population.

There are places where photography is more difficult like Paris, Berlin compared to places that are much more convenient for street photography such as Prague and London. Photography elsewhere opens new sights to you and increases your motivation for photography. In Israel, I shoot in regular places, so that I can get closer to people and feel freer to take photos on the street. On the other hand, it is difficult to resume.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I came from a world of analogue photography. There were times when I was a developer and printing pictures in my house. So I know how to evaluate the quality of the image and print. Today in our digital world everything is fast and colourful and similar to the other. It affects the street photography that the authentic uniqueness and expression disappear in favour of images that look the same even to the photographers who are considered the strongest.

I relinquished the analogue with great regret because the practice of analogue requires time and money for printing and development. In a world where you have to post a photo on the web almost every day, the analogue is unnecessary.

- What is your camera of choice for street photography?

My favourite camera is Fuji X-T2 - What is your favourite technique (lens choice … fillflash)? I usually shoot without flash with, 24 mm, or 28 mm lens in strong light. Sometimes at night or in a special event, I am using flash.

- What is your primary software for post-production? I am using Photoshop for editing.

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Kevin Unger I was born 56 years ago, I was born and raised in Toronto, Canada and when I was about 18 years old I moved to Los Angeles, where I spent a good deal of my time. I currently live in Beit Shemesh, Israel, which is located between Jerusalem and Tel Aviv. I've been in Israel for the last 27 years and have enjoyed every moment of it.

I am a retired photojournalist. My work has appeared in many newspapers and magazines around the world. About 3 years ago a friend of mine convinced me to pick up a camera again and start shooting street. For some reason I listened to him, and haven't put my camera down since.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Street photography flourishes here in Israel because of the many diverse types of people, which in turn gives us diverse cultures, traditions and lifestyles. These are evident on the streets of the cities, towns and villages, and all of these places are a street photographers dream to shoot. From the four quarters of Jerusalem's Old City — Muslim, Christian, Jewish and Armenian, to the same areas outside the ancient Old City walls. Jerusalem is a kaleidoscope of colours, people and cultures all coming together within city blocks of each other.

It's a place like no other and capturing it, well, that's the real challenge.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Many of the photographers here (including myself), love using the available light found within the nooks and crannies of the close streets and tight alleyways of the city. This lets us the take advantage of the Chiaroscuro and subdued light which can't be found in many other cities and places. Jerusalem's Old City is the best place for this since almost every street will allow for that. We pay careful attention to the time of day and take note of when the lighting will be just right for going to whichever location in within the walls.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

It's very difficult to define which place or locale has the greatest activity. Some will say that Tel Aviv will have the most activity since it is a modern city and there's just so much happening with all the hustle and bustle there. Others will say that it would be Jerusalem with all the different cultures

congregating in one place. Add to the mixture of Jerusalem and you have The Old City, the Mahane Yehuda Market and the various different neighbourhoods which make one wonder if they have stepped back in time. There will also be some who will say that some of the best street photography can be found in the small villages scattered throughout the country, and not one of these people are wrong. There's just so much to photograph here and every time is a new and different experience.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

With the many different types of religious ceremonies here, they're usually open for all to see and partake. What makes these ceremonies/festivities great is that so many people come to participate which makes for great photographs. During Orthodox Easter the streets in The Old City leading to The Church of the Holy Sepulchre are packed with people - it's a street photographers paradise. The days which lead up to the Jewish Holiday of Sukkot will have people running around to the different little pop-up markets which sell the necessary species (palm fronds, myrtle and willow branches, etc.), for the holiday - a very colourful time. The list is endless.

- What is your camera of choice for street photography?

At the moment I’m using a Canon mirrorless camera with a wide-angle lens.

- What is your favorite technique (lens choice … fillflash)? I do have a telephoto-zoom lens, but to be honest, I never use it. I really do prefer to shoot wide, which forces me to move in, in order to get the photo - How do you manage color and B/W? It’s a very powerful tool which allows me to also choose whether or not I would prefer my photograph in black and white or colour. I have a rule of thumb… If the photograph itself doesn’t contain a lot of colour, then try it in black and white – usually it will look much better then.

- What is your primary software for post-production?

For post-processing I really enjoy using Lightroom.

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Lil Steinberg I was born 64 years ago and I was born in Antwerp, Belgium where I lived till the end of 2011. At that time I made a drastic change into my life and moved to Israel. I currently live in Tel Aviv, the so called white city or city which never sleeps… and which is often very hectic

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Street photography is attracting more and more people lately as it is a kind of photography that one can do alone, without requesting necessarily lots of equipment compared to studio photography or fashion photography for example… A good pair of shoes, a curious and open mind, a nice approach, lots of patience, good eyes and of course a camera and a good lens will make it.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Israel is a fabulous place for street photography due to its different cultures, races, religions, colours, foods… Its mixture and its people’s constant activity make it all very fascinating and special, even though the country is very small!

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

It is very difficult to compare street photography in Tel Aviv and Jerusalem. Tel Aviv is more an urban city with an immense diversity of people (and dogs), beautiful beaches and is very hectic. Jerusalem is built totally differently, is more quiet and is a city of tradition, religion and history and increasingly of modern culture and heritage. It is holy to Jews, Muslims and Christians, and all of them have their sacred places. Shooting in those locations will be a blessing for a talented photographer who will seek to show emotion and devotion in his pictures. The small streets of Jerusalem are a dream for those who love to play with shadow and light.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am very much impressed by the immense talent of Israeli photographers, and although I certainly learned a lot from them I can not exclusively identify myself with them as I am a product of two cultures: the Belgian and the Israeli one. This is no doubt an immense gift.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

The many religious ceremonies in Israel are a dream for photographers: so much to tell, so much emotion and history.I personally did not shoot so many, but the few I did were major experiences and I intend to explore this field more often in the future.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Israel is a country full of contradictions, it is still very young but with amazing achievements and places to see, and is a dream for street photographers. Street photography though can be done in every part of the world and as I travel a lot I try to show my views and emotions trough my lens, may it be beauty, poverty, pain… or documentary.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Digital photography opened a world for many as it became much cheaper than it used to be. There was a time one needed a film for every weather condition!!

- What is your camera of choice for street photography?

My favourite camera is a Fuji X-T2 and I generally use a 14 mm or 23 mm for street, 56 for portraits and when needed a 56/140.

- What is your favourite technique (lens choice … fillflash)? I shoot only with prime lenses, usually 28 mm, Never use flash.

- How do you manage color and B/W? I am a huge fan of B/W and I often realise that whenever processing my images with photoshop, B/W will be my final choice.

- What is your primary software for post-production?

Photoshop.

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Maya Rahamim I was born 22 years ago and I currently live in Ramat Gan 1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

In Israel there’s a large variety of cultures and nationalities which creates differences among the local population. This diversity of so many different lifestyles in such a small country makes it so attractive for photographers

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

As I have experienced photography so far I attempt to portray my personal perspective of moments I encounter, regardless of place or nationality.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I see it more as an advantage than destiny, you have to adapt yourself to different conditions which produce a certain character to the Israeli photographers and use it as a tool.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit?

I would say that there’s something liberating in exploring new places rather than creating something out of a place that you are use to. Usually when I visit new places I try to experience them for myself at first and then threw my camera. I can definitely add that it gives me legitimacy to approach different places I wouldn’t go to before.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

These two cities have definitely different style. The greatest activity of street photography for me is Tel Aviv which has its own magic, I can go along the beach for hours and it always appears like something new occurs. As I grew up next to it I’m more familiar with each place and feel more natural among the crowd.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

In my opinion, as someone born into the digital world, analog photography holds its appeal. Nevertheless, digital photography and the many tools and possibilities it provides, allows many new aspiring photographers to find their way.

- What is your camera of choice for street photography?

I use Fuji X-T3, 23mm, although my favorite choice before was my 10-18mm canon lens.

- How do you manage color and B/W? Usually I shoot in color and make small changes in Lightroom.

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Miki Schauder I was born 48 years ago and grew up in a town called Haifa.

At the age of 15 I began to use a Pentax K1000 and became a photographer at 16. With my own darkroom; developing photographs in the bathroom at home.

Now I live in Tel Aviv.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Israel is a small country but you can feel it in every area — Travelers around the world and third world countries, so people think we are a super power because of the amount of travelers.

And the Israelis leave a mark — for better or worse ... everywhere.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Israel is sunny place due to its proximity to the desert and its geographical location. As soon as you are given a photographic conditions such as light and strong sun and shade. The photographers take advantage of this for the sake of the photos.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

Because I work in Tel Aviv and I am there most of my days, many of my photos are from the streets of Tel Aviv: Rothschild Street Markets and Central Station Area. But I’m also going out to take some shots – street photography – in Jerusalem and the religious neighborhoods. Bedouin tribes, Catholic believers, and holy sites, and traveling all over to take photos.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I’m the most objective, I look at the picture shown, and how beautiful and quality it is and not about who the photographer is, or where he came from.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I am interested in taking pictures all over the world, getting to know and learning about different cultures, tribes, commu-

nities, religions, places and ways of life, colorful people and interesting locations around the world. I have traveled and photographed all over Europe, Cuba, USA, Kyrgyzstan, China, Russia, Jordan, and this is just the beginning.

Always walking around with a camera — and going to the backyard of every place to find the least standard and more interesting things.

In Israel there are many holy places for all religions, so there are interesting rites and eye-catching events for street photography. Also in Israel different types of people from all over the world so that there is a diversity of cultures, faces and colors.

Israel is a country where there is sea, desert, old city and new cities so you can find lots of interesting places for street photography.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

The world of street photography, changed with the advent of digital cameras, no longer limited to 36 photos, you can take photos in sequence, and there is no need to send a film for development.

So you can go out and take lots of pictures anyone can already go around with a camera and take photos, so street photography and photography in general becomes more accessible with digital cameras and smart phones.

- What is your camera of choice for street photography?

Sony A7RIII. - What is your favourite technique (lens choice … fillflash)? Wide Lens and getting close to the objects.

- How do you manage color and B/W? Looking at the photo and decide.

- What is your primary software for post-production?

Lightroom.

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Neta Dekel I was born 58 years ago, I grew up in Atarot – a small village in the center of Israel, near Tel Aviv, – and I currently live in the same place, Moshav Bnei Atarot

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I think that, in general, the people in Israel are very creative – both in high-tech (we are called the start-up nation) and in various areas of art. Photography is very popular in Israel, in a lot of areas, and thus the street photography is also popular.

a lot of people in a small or narrow places. The density is extreme. In addition, the security is very important, and there are a lot of policemen and other security forces that limits the access to the center of the ceremony.

The last factor is the light — lot of the ceremonies are at night, or indoor places (eg. churches). You need a good camera, with fast wide angle lenses and be very skilled and fast with the camera.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Israel is a very sunny country. Most of the year, even in the winter, we have sunny days. As we all know, the sun gives hard and very contrast light. The street photographers that are not using lighting-aids (like flashes, reflectors) need to learn how to use the existing light for photography. Thus, you can see a lot of photographers that specialized in high-contrast street photography.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I think that the most important issue with photographing people, anywhere in the world, is give respect. I respect my subjects, getting their consent, if needed and possible (even with a smile or a look, without words). Be sensitive.

Photographing in Jerusalem is sensitive due to the Israeli-Arab conflict, and the fear to be hurt. Extra sensitivity to the surrounding is needed.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

Obviously, the big cities has the largest activity of street photography. Jerusalem is one of the best places for photography in general and street photography in particular. The special places, the interaction between the religions, the massive amount of people and tourists are unique.

Personally, I do photo a lot in Jerusalem and Tel Aviv, but also other special cities — like the old city of Acre.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I cannot be completely objective, since I am an Israeli with political opinions, which lives in a very tensed environment.

I do have influence from other Israeli and international photographers.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Photography in religious ceremonies is very complex. There are

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Digital makes it easy and accessible. You can be focused on the subject, composition and exposure, without worrying about the number of shots and replacing the film every 36 exposures.

- What is your camera of choice for street photography?

Mirrorless. I use now Nikon Z7 + 35mm. Before that I used Fuj X-T2 + 23 mm.

- What is your favourite technique (lens choice … fillflash)? Wide angle prime lens. Usually 35 mm on full frame body. No lighting aids at all. Only existing lights.

- How do you manage color and B/W? I shoot in raw. I prefer colors, since we see the world in colors. I turned to B/W only when it is better for the specific photo.

- What is your primary software for post-production?

Lightroom. Nothing more. Minimum changes.

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Ohad Aviv I was born in Romania 54 years ago and I live currently in Tel Aviv

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Israel is a young and dynamic country, things still get into shape here and the most important thing is the identity. Israel is a mixture of cultures and out of that combined with the rhythm of the streets here, many interesting things happen.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

The light in Israel is a little harsher than in other places, in the summer it is almost impossible to take decent photos here for most of the day. I guess I try to work with what I have, though I mostly use flash so I treat the light conditions differently.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What's the difference for you?

For me it is mostly Jerusalem and it is a question of identity and appearance. But it changes according to decisions and vibes I get that day. Jerusalem concentrates many of the religious events so obviously there is a lot of things to see and photograph there.

Tel Aviv has the rhythm of a western city, very assertive, People are running all the time and in a way it looks like an architectural jungle because of the way it was built so the scene in Tel Aviv is a bit more extreme and focuses on other stories than you'll get in Jerusalem.

special. To get your own interpretation of these events gives out some very unique frames.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

First of all, connect to people, feel the local vibe of a place and be a part of it as I said, with my “DNA” as an Israeli. Each place has its special events which are worth being at and I try to trace them and to take part in them when possible.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Some of the photographers in Israel use films and I think it is great! I think that people who have a technical understanding of film photography will have a deeper understanding of digital. I use film from time to time but less than I want these days.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

For me photography connects people. It does not matter if you are Israeli, Italian, Dutch or from Greece. But, there is a certain personal load a photographer takes with him wherever he goes. You cannot and should not run from who you are but try to take the advantages it brings to you.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

First the fact the you can actually take part in them is special, but in a deeper note, the fact that you see in this small part of the city many different people from all over the world with their costumes and interpretations of the different events is

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- What is your camera of choice for street photography?

My Leica Q :D - What is your favourite technique (lens choice ‌ fillflash)? I use the flash and I really enjoy it. But I do have control of all lighting conditions.

- How do you manage color and B/W? Mostly I will use color because it sends a clearer message in my opinion.

- What is your primary software for post-production?

I use Lightroom.

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Omri Shomer I was born 37 years ago, and I currently live in Ramat Hasharon, a small town located close to Tel Aviv. I grew up on the southern side of Israel, in Moshav Gea. It's like a small village, far from the urban scene. Maybe that’s why I was so attracted to it as soon as I left home for Tel Aviv in my early twenties. My friends called me the urban boy, as a child in Ge’a because my character was different. Not being a guy who settles for one place, I was very curious. I have friends who still live in Ge’a and never left it.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Why there are so many street photographers in Israel? I don't think that I can put my finger on one reason. I think it comes from a personal and different place for each one, It is very individual. To understand this it is necessary to know every photographer in depth and hear his story.

I came from the advertising world, I was a copywriter for several years and through my work with the Art Director I was exposed to creative physical imagery. The way of thinking that dictated our work was: Not always what you see signifies what you see, sometimes it will reveal a different story, or a joke or insight. And it compelled me to look for this way of thinking in the real world, on the streets.

I suppose other photographers are photographing for other reasons, perhaps for personal reasons or for human research.

But there is no doubt that human and cultural diversity in Israel encourages street photography.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I think using the right light can do magic. Many photographers discovered the light and that is the essence of technical photography. I think the geographic location is important, but more so the timing. In Israel, most of the time it is sunny, I guess it is an advantage over other countries, but you have to know when to shoot at the right times, because the sun in Israel is so strong that it can build a story and a good frame but also destroy one.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I don't think there's a main area for street photography in Israel, it's constantly changing. Photographers from Jerusalem come to Tel Aviv and vice versa but also to other remote places,

such as Acre, Safed, even Eilat. I took photos in many places in Israel, from the south to the north. I usually go for a photo walk where it feels right to me. If I need quiet after a busy week I go to the beach, usually in Tel Aviv. And many times I need other human diversity that can't be found in Tel Aviv, like the ultra orthodox society, so I go to Jerusalem or Bnei Brak, usually on holidays.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am always happy to see representation of Israeli street photographers in the world, in exhibitions and magazines that reveal their works and human landscapes of Israel. I think it brings a different angle on Israel, perhaps humorous or exciting And mostly different from the information obtained from the world media.

I remember flying to London to attend David Alan Harvey's workshop. He asked me why there are not many famous photographers from Israel. I told him there was, in the making.

This feeling of underdog constantly accompanies our small country and I am sure it will change through the field of street photography.

- What is your camera of choice for street photography?

So far I have used several cameras: Fuji X-T1, X-E3, Lumix lx100 and Canon A1.

- What is your favourite technique (lens choice … fillflash)? Most of the time I use wide lenses, such as 24, 28 or 35mm, and getting very close to the object or situation. Sometimes I use external flash, but this is rare.

- How do you manage color and B/W? I shoot in both color and black and white, it varies from image to image and depends on a project.

- What is your primary software for post-production?

I use Lightroom.

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6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I usually shoot in the Tel Aviv area, because I don't have much time, unfortunately, to devote to photography. On Fridays, I go out for a few hours in the morning or Thursday afternoon.

Tel Aviv is 15 minutes from my house, so it is my favorite city right now. I always like to find other corners I didn't know, I've lived in the city for 10 years and also in Jaffa, so I feel right at home.I’m always excited when I find new corners in a familiar place, I feel like a researcher and it brings me back to my childhood a bit, when I was a restless and curious kid.

The common denominator that always interests me is the people. It doesn't matter if I take photos of them in Israel or any country in the world. The main thing is to tell exciting new stories through photography.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I think there is room for both digital photography and analog photography in Israel, there are dedicated groups for this on social networks. I shoot myself using both digital and analog cameras. I think the analog camera taught me patience. Today I don’t click right away, or spray and pray. I’m waiting for the decisive moment and appreciate every click.

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Ori Levi I was born 46 years ago, I grew up in Haifa and I currently live in a small town called Binyamina

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

It is a very interesting point. Maybe the reason is that there are so many ethnic groups here. This makes it very interesting, I think. In one hour drive you could change the scene from Mediterranean open minded Tel Aviv to orthodox Jerusalem (if the traffic allows it).

four groups, create a very interesting moments that are worth capturing. I am sure you will recognize them in my photos.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

The light during the summer is harsh. The shadows are deep.

And using chiaroscuro is a method to deal with it. Some photographers use flash, it depends. The winter sun is much better here.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What's the difference for you?

For me they are both great. Tel Aviv and Jerusalem are both great for street photography and I enjoy them equally. The difficult decision is where to go at each city since these are big cities. In Jerusalem it is difficult to know about special occasions of the closed orthodox groups.

I shoot also at the city of Bnei-Brak (near Tel Aviv) and near my home town — at the sea shore.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am not sure I understand the question. Some of the photographers are my facebook or personal friends. We meet on the street, drink beer and continue on our own. Each one has its different style and technique. My pictures show some national identity, since they reflect my country. I seek to capture ethnic and culture in my photos.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

There are indeed three major religions, and a forth major group – secular (non-religious). Some of the ceremonies, of these

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6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Going to new places is always exciting. It is nice to experience photography in new places. People and light are interesting everywhere.

But for me shooting at home is of higher value, pursuing Israeli people and culture. Maybe I will be able to make a small change.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I see other street photographers use all kind of equipment and brands. It is an individual taste.

I use both digital and film, started using film a year ago, and found it to be fun, and kind of educational. Now I develop and scan B/W film at home.

I have tried Canon DSLR, Sony and now Fuji mirrorless. For my taste, the first two were less suitable for street photography.

Fuji is great for me.

- What is your camera of choice for street photography?

Fuji X-T2 and Minolta CLE for film.

- What is your favorite technique (lens choice ‌ fillflash)? I use prime lens at the range of 21-28mm.

Sometimes I use flash to fill or freeze a frame.

- How do you manage color and B/W? Color is difficult to me, and I prefer B/W. When shooting color the scene could include all kind of colorful distracting objects - What is your primary software for post-production?

Lightroom and Irident X-Transformer.

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Orna Naor I was born 60 years ago, I grew up in Jerusalem and I currently live in Tel Aviv.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Israel is a country with diversity population, a centre for the three major religions, has wonderful beaches, and the most important thing is, that people still don’t mind too much being pictured. If one knows how to be polite and yet unseen, most of the time there are no problems. So the combination of the population, places and attitude are what makes Israel a great place for street photography.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I use natural light in the street. That is one of the most important consideration need to be taken, and then I play with the light in different ways. Rarely using flash.

Using natural light allows me to make stories and connections based on the light we need to help her and use what we can.

The religious ceremonies in Jerusalem are fascinating because it’s a window to look at people and cultures that are usually not accessible, and takes place in different kind of light, because it’s mostly outside.

- What is your camera of choice for street photography?

Fuji X-T3, Leica Q2.

- What is your favorite technique (lens choice … fillflash)? I love to tell stories, so I mostly use the 16mm, 18mm (cross for the Fuji xt-3 and the Leica Q2 is fixed 28 full fr5.

- How do you manage color and B/W? I decide as to each picture; weather the color is an addition or a distraction.

- What is your primary software for post-production?

Photoshop.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

There is no comparison; Jerusalem is a harsh divided city, religious orientated, with many ceremonies, conflicts and history. Tel Aviv is a liberal city, much more open, with beaches that are full all summer, markets, and other street festivals and activities.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

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Raviv Meyouhas I was born 49 years ago, I grew up in Holon and I currently live in a community settlement named Nofit in the north of Israel.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I find Israeli people very social, bold, creative and like to improvise. These characteristics are great virtues for street photographers, so I guess it’s only natural for this genre to be popular in Israel.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Israel is a warm country with a long summer and harsh sunlight. This must influence the pictures, especially in street photography which is done outside most of the time.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I find both cities very interesting and full of opportunities for taking great pictures. Tel Aviv is crowded, busy, dynamic and ever changing. You meet all sorts of people – Israelis, immigrants, young, old, colorful and gray…

Jerusalem is my favorite city, as one of the most complex cities in the world. It is a mix of old and new, Jews and Arabs, religious and atheists. Completely different communities live side by side and blend together in the streets and markets.

With the scenery of the old city you can find great places for street photography.

the same time so Jewish. I always find great opportunities and things to shoot.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I look for authentic places. They are the most interesting for me. Real people, real places, real events. I traveled once to Albania with a group of photographers led by Felix Lupa. It was a great experience to visit the villages and the people and see how they live. I will be very happy to shoot in NYC which is probably one of the best places for street photography.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Since I don’t shoot film I don’t have a good answer to this question.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am very happy to see great Israeli photographers. I like to see how they make the best in places I know well. It makes it easier to appreciate their work and talent. I must say they make me proud. I also like photographers from all over the world. I found there is a community of wonderful Turkish photographers and I really love their work.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

For the last few years I go to Jerusalem to shoot on a few Jewish holidays. I go with a couple of friends especially to the orthodox community because this is a closed and different community. A culture which is intriguing and different, but at

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- What is your camera of choice for street photography?

Sony A7II with Sony-Zeiss 35mm F2.8 lens, Sony A6300 with Voigtlander 21mm F4 (manual) lens.

- What is your favourite technique (lens choice … fillflash)? When I am in the streets I mainly shoot from the hip without looking at the screen. I don’t use flash. This way most people don’t know I am shooting and act naturally. My favorite focal length is 35mm, and I usually shoot at F4-F8.

- How do you manage the colour and B/W? I usually shoot color, but there are days and scenes where B/W is better. Especially if the color doesn’t contribute to the picture, or when it takes the attention from the composition.

- What is your primary software for post-production?

I use Capture One Pro and I’m very happy with it.

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Sagi Kortler I was born 47 years ago, I grew up in a city called Netanya which is about 30km north of Tel Aviv along the coast of the Mediterranean Sea, where I currently live.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I really have no idea.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I guess it has to do with the lighting condition but also a lot just copy others.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I think it’s in Tel Aviv but never really looked into it. I shoot wherever I go but there are locations I tend to go back to because chances are higher to get a good image.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

If you consider street photography as candid, un-staged photography in a public area then the territory is irrelevant.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I don't think it has any effect, most street photographers in Israel started shooting in the last 10 years so I doubt if any of them used film photography. I think that I'm the only street photographer that shoot film on regular basis.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I try to keep an international approach to my photography, I want my photography to speak to everyone and not just Israeli’s. For my photography, Israel is just a place I live in and I have work with what this place provides me.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

I’ve been to most of them at least once, I try to avoid them. In my opinion they are overdone.

- What is your camera of choice for street photography?

Any camera but I do prefer Leica.

- What is your favourite technique (lens choice … fillflash)? Just walk around and shoot … I prefer 35mm or 28mm lens, I don’t like using flash.

- How do you manage the colour and B/W? Just fine :) - What is your primary software for post-production?

Photoshop.

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Shimi Cohen I was born 47 years ago, I grew up In a city called Rehovot which is about 25km south of Tel Aviv. Now I live in Kibutz Givat Brener.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

The State of Israel, despite being a small country, has a human, geographical, cultural, religious and political diversity that is so rich of a wide spectrum of people and types. The weather and the openness here make people happy and tolerant of the subject of photography.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I really like to travel and see the world. For me, it doesn’t matter what country or place I am, even if it’s in Israel.

It’s actually a renewal. Seeing something new and discovering the little things and all the stories that contain it. Without filters but as “facts”.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Chiaroscuro refers to the use of light and dark to create the illusion of three-dimensional volume on a flat surface. The term translates to “light-dark”; chiaro meaning bright or clear and scuro meaning dark or obscure the streets it boost a photo to 3D.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

I believe that most of the street photography is made digitally and not analog anymore. I made my way through the world of analog photography. Dark room and develop photos myself.

Today in my photography method — I call the camera “a type of film” and remain faithful to it almost without editing if at all.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I cannot quantitatively define where the street photographers are more active, but it is clear to me that mainly in Jerusalem, Mainly because of the mix of religions, and the power of the ancient city. And the ceremonies that are held there.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

There are many great photographers in the Israelian street photography art. I definitely take an independent identity. And it's very easy to spot my photos without seeing who the photographer is. Both in photography and in editing and submitting.

- What is your camera of choice for street photography?

Fuji X-T2.

- What is your favorite technique (lens choice … fillflash)? No flash, 18 mm or 23 mm lens in APC. - How do you manage color and B/W? Most of my work will be in black and white, I really like the monochromatic. And let the viewer interpret and understand the colors himself.

- What is your primary software for post-production?

Lightroom.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Very unique to photography in these ceremonies, it's power.

No matter what religion you belong to. The thread connecting them is divinity. As in day-to-day rituals, I very much detach myself from identifying with one religion or another. And concentrates only on stories that are in front of my lens.

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Vered Sadot I was born 52 years ago, I grew up in Jerusalem.

Today, I live in Jerusalem after many years living in Binyamina, a small settlement near Haifa.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

Never visited Seoul. As for street photography, it is not an independent genre but a documentary branch that must express some photographic narrative or narrative in general, over a series of photographs, otherwise it has no existence right. A story in one picture is also a part of a much broader narrative that gives photography a lasting meaning: cultural.

Of what survives beyond the solitary photograph, and also to survive the flux and quantities of photographs created in the world in the present age. Therefore, each episode in the series, each photograph, can tell a single story and must be part of a much wider one.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

I set the focus to the brightest spot in the frame so that all the details appear in white and what in black is almost completely erased. Sometimes I aim for blacks and then erase the whites to get a white silhouette. But it’s best for me to work with natural light at slow speed and closed shutter. Then you get “transparent” human figures that reveal a human mood and the whole spectrum of thoughts and feelings of both the object and the photographer — an interaction that cannot be perceived tangibly in another way.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you? ”Street photography” is a style and not an “activity”. That’s why photography in this style using the “Style” tools is available everywhere, including in a human factor-free environment; to me, street photography is not limited to a large urban environment or any, though it is easier to produce interesting compositions in the urban environment where the happenings are “cluttered.” On the other hand, much easier, in urban and busy situations to escape the narrative in favor of the composition, then the story will stop in the lone frame and be limited to it.

emphasizing prominence and reflecting on my artistic identity and not just as a documentary. No photograph is completely objective, as it is taken as a point of view of a human being; this is the reason why even without any identification with no other Israeli photographer or any photographer, you can’t be an “objective” photographer (even landscape photography can’t be objective — especially in Israel).

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

My way of working is an emotional and intellectual expression that requires me to make decisions on what and how I want to photograph. In that way, even if I have visited the same ceremony several times, I will be able to cover other angles.

I try to come to the ceremony after doing research on that, and if it is a ceremony I participated before, after examining archive products from previous years. I don’t excel in photography of ultra-Orthodox Jews, which does not happen in photography of Christianity or of the Arab world.

- What is your camera of choice for street photography?

Fuji X-Pro2, prime lenses, wide.

- What is your favourite technique (lens choice … fillflash)? Wide lenses, closed apertures, slow speed, high contrast. Grain.

- How do you manage color and B/W? I photograph in color raw files. Transfer to B/W, trying to make it looks like analog photos.

- What is your primary software for post-production?

Photoshop, Nik Collection.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

So fingerprinting as part of my identity as a photographer,

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6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Investigation — mandatory, in any subject. Also in photography in my city of residence, but also in other cities. In Israel you return to the same place again and again. In other cities of the world, you go back to those places for a limited amount of time, and occasionally, so that the deepening must be done in one or at most two sessions. It requires more responsive speed and in-depth exploration to accurately capture the subjects of photography, compositions and narrative in advance.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Most people take digital pictures, so most of what makes it difficult to cope is the amount of footage everyone has.

Photography is very intuitive due to the unbearable ease of being able to press the “button”. Therefore, there is a lot of average and weak material that lowers the level of photography in general. On the other hand, since everyone has pretty good cameras in their pockets, so “street” situations that might have remained undocumented are now being photographed and documented. Photographers who adapt to the analog way of photography — calculated, the slower, the thinking, the planner, and not the one who pulls out, only gain that overall photography is much more accessible in the digital age.

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Yael Gadot I was born in 1961 in Israel, where I am based now and I also lived in NYC for 10 years.

My professional education is B.Sc. in Physics and Computer Science and I’m working as a computer specialist in a financial firm. I started taking photos about 8 years ago, mainly people, street photography and documentaries.

Now photography for me is a significant hobby, a meaning of expression and a way of life.

Photography and curiosity expose me to new and fascinating places and to varied and powerful experiences.

Life in Haredi society fascinates me so much, I’m finding myself visiting Ultra-Orthodox neighborhood often during holidays, special events and ordinary days.

I try to create photographs that tell stories and bring up emotions and curiosity.

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Yulia Olshansky I was born 50 years ago, I grew up In Riga by the Baltic Sea. Currently I live in Haifa by Mediterranean Sea. Probably that’s why the sea makes me feel so inspired and I’m happy to share with you my “Do you See what I Sea” project.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

I think, documentary and street photography is Jewish field of expertise (two Magnum founders are Jewish: Robert Capa and David “Chim” Seymour) and I can add more well-known names like Bruce Davidson, Elliott Erwitt, Robert Frank, Gueorgui “Garik” Pinkhassov … that’s why in such small country the culture of street photography is so popular and developed.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

In Israel we have rather difficult light conditions, so you must be very creative and quick to use the soft and homogeneous light, that’s why many of us use chiaroscuro.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

I can’t be objective, as a person absolutely in love with Jerusalem, but Tel Aviv has it’s spatial activity as well: Pride Parade, White Nights, music festivals, concerts. Two different cities, two opposite Worlds.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am really proud to be an Israeli photographer on the one hand, and a woman street photographer on the other hand.

travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

Most of all I like travelling and prefer to do it in interesting for shooting locations. Always I spend a lot of time exploring the places before travelling (culture, ethnos, traditions, food), analyzing photos of famous photographers from chosen countries. Sometimes it’s good to have some domestic guide in India, Cuba in case you want to be closer to local community, that’s the main difference between traveling abroad and home for me.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

As in whole World with digital photography appearance we have more street photographers and much more photos as a result.

- What is your camera of choice for street photography?

Nikon D 7500.

- What is your favourite technique (lens choice … fillflash)? Lens 10-20 mm, no flash.

- How do you manage color and B/W? Difficult question … sometimes I just see the final result as monochrome or B/W, it depends.

- What is your primary software for post-production?

As usual there is not much reductions in my photos, any viewer can be good.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Jerusalem is always very colorful because of religions and ceremonies that’s why it’s a big challenge to make unique and authentic frames there … Challenge’s my surname :) so I prefer to be focused on Haredi Judaism and one of series I’m busy with couple of years “Little Women” telling the story of Haredi girls.

6) What is your relationship with your territory and if you

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Zohar Ferro I was born 45 years ago, I grew up in Daliat El Carmel, where I currently live.

1) The state of Israel compares in population to both New York City and Seoul, and yet a culture of street photography flourishes there. How do you account for the appeal of this form of expression?

The Israeli people are very creative. Street photography requires creativity and self expression which are two qualities that the Israelis are very strong with. Also, because of the diversity of cultures there are a lot of interesting characters in the streets, which is a great shooting opportunity.

2) Many of these photographers use chiaroscuro or at least light. Is geography destiny?

Yes, of course. Since Israel is a very sunny country the light is being expressed strongly in pictures. In other countries, such as Switzerland or the UK, that are mostly cloudy, this can’t be expressed in pictures as much.

3) Where is the greatest activity of street photography in Israel: Jerusalem, or Tel Aviv — or is it not confined to the large urban areas? What’s the difference for you?

Yes, the greatest activity is in the big cities like Jerusalem or Tel Aviv. It depends which kind of street photography I’m looking for. I’m interested in a variety of characters, religions, cultures, Jerusalem is the place for that. In case I want a “younger” nature, more active, beach shots, night life — then Tel Aviv is the place.

4) Do you identify with other Israeli photographers? Or you can take a completely objective — and be independent of a national identity?

I am a street photographer. My nationality doesn’t matter when I’m out shooting.

5) In Israel, there are many ceremonies for the three major religions that regard Jerusalem as a Holy city. What makes photography unique in these ceremonies? How are these different religious practices depicted in your photography?

Thanks to photography, I learn a lot about these 3 religions. If I’ll have the opportunity, of course I would be interested in those ceremonies, in expressing their uniqueness in my photos, in showing the special clothing, interesting situations.

6) What is your relationship with your territory and if you travel, how do you relate to the places you visit? What do you find interesting and different when photographing in Israel or in other countries?

I almost never take pictures in my territory, in the village I live in. Living in a place, seeing it on a daily basis, makes me indifferent to it photography wise. I am so used to it, that although it’s a very special place, it doesn’t excite me.

When traveling, from a street photographer point to view, it depends where I’m traveling to. If I am in western countries, I feel no big difference than Israel. The faces, characters, are very much like in Israel. But when I’m traveling to places in which the human view is different like in Asia for example, I’m a lot more inspired. The different faces, views, places, colours, cloths, excite me a lot more and brings out the street photographer in me.

7) Digital and analog photography: how does this affect the world of street photography in Israel?

Digital photography provides more flexibility, speed, thanks to digital photography I don’t have to deal with the camera when I’m shooting. I can put my energy in finding frames, in photography itself without worrying about the technical issues.

- What is your camera of choice for street photography?

Sony.

- What is your favourite technique (lens choice … fillflash)? Wide angle lens, available daylight only, light/ shadow games.

- How do you manage color and B/W? No specific preference, according to the picture’s nature.

- What is your primary software for post-production?

Lightroom.

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Progressive-Street

Progressive-Street was realised by Batsceba Hardy from a love of Street Photography from roots within the DeviantArt site. It started its life as a group on FB in early 2017 with the entry of Robert Bannister, Michael Kennedy and Fabio Balestra, and has assumed its current form at the beginning of 2018.

“Thanks to us, the street photographers, people see the real world”

Street - Documentary - Photojournalism “There is another world, but it is in this one” — W. B. Yeats We are a small independent Publishing House We are an Art Gallery: streets all over the World, a sight of reality, the eyes of the street. We show the effects of globalization. We are a look at the Globalized World. Photography as ethnography, our ethos is an anthropological, sociological, social vision.

“Progressive-Street is an international community of street photographers and photo reporters that mix the art of photography in a multi-faced way to document the effects of globalization through their lenses.”

We focus on the ethnical, social and cultural events across the globe — thanks to our net of high-class photographers that cover areas from big cities to the smallest towns, sharing the places and stories of people that cover endless cultures in this pageant of humanity.

Our strength is derived from the independence of the photographers who become members after a severe process of selection concerning authenticable feelings, identity, ethical behavior and quality about the photography.

We reach a global audience thanks to Progressive-Street’s use of mainstream social platforms.

And now we have our own website where one can find cutting-edge photofeatures and articles, plus incisive biographies of the photographers, personal galleries, and how to subscribe to our magazine.

“Progressive-Street is a photography gang dedicated to the visual narrative of the street.”

We go to the street for images that resonate with compelling insights of the human condition.

We seek images that reflect truths without the slick professionalism of the photojournalist.

We strive for an authenticity that is uncompromised and yet aesthetically beautiful.

We respect tradition but are not afraid of the currents of change. We are truly international in both our background and in our purpose.

“We are Progressive-Street.”

Progressive-Street is a ‘gang’ of international photographers looking at the other side, yes, but in this world.

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in this issue

Anat Shushan

Aviram Bar-Akiva

Bruno Lavi

Corinne Spector

Dafna Yosha

Dana Caspi

Dov Oron

Gabi Ben Avraham

Ilan Ben Yehuda

Kevin Unger

Lil Steinberg

Miki Shauder

Neta Dekel

Maya Rahamim

Omri Shomer

Ohad Aviv

Ori Levi

Orna Naor

Raviv Meyouhas

Sagi Kortler

Shimi Cohen

Vered Sadot

Yael Gadot

Yulia Olshansky

Zohar Ferro

Progressive Gang: Abrar Asad, Alphan Yilmazmaden, Anat Shushan, Andrea Ratto, Ardie Santos, Batsceba Hardy, Bogo Pecnikar, Boy Jeconiah, Corinne Spector, ˇ David Goold, Delfim Correlo, Don Scott, Don Trammell, Edita Sabalionyte, Eko Yulianto, Fabio Balestra, Fran Balseiro, Frans Kemper, Gerri McLaughlin, Harrie Miller, Jean Lefranc, João Coelho, Karlo Flores, Keef Charles, Lola Minister, Lukasz Palka, Marco DM, Mark Guider, Michael Kennedy, Neta Dekel, Neville Fan, Niklas Lindskog, Orlando Durazzo, Pacho Coulchinsky, Roberto Di Patrizi, Shimi Cohen, Siddhartha Mukherjee, Stefania Lazzari and Jinn Jyh Leow, Robert Bannister, Hila Rubinshtein, Ines MadDel.