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The Archive


THE ARCHIVE MAGAZINE FEATUERS This issue is dedicated to: Real Time Equipment Review

Naama Klaiman - OverNight Mikhail Smodor - Reginal town of galich (1900s - 1930s) in photograpthy Tamas Schild - Aging Young “Gear-selfly“

INTERVIEWS Interview with Yaakov Israel Interview following a new book ‘Legitimacy of Landscape’


‫‪Real time equipment review‬‬

‫‪The New X-Pro-2‬‬ ‫‪Dan Haimovich‬‬

‫ה‬

‫פגישה הראשונה שלנו היתה לפני‬ ‫ל ‪ Xpro 1 -‬הרי שבבוקר תקומו עם‬ ‫חודש וחצי‪ .‬הגוף הראשון שהגיע אז דמות מוכרת אבל עם לב חדש ופועם‬ ‫לארץ נחת ממש יומיים לפני כן לסיור‬ ‫כמו לב של רץ‪/‬ת מרתון‪ .‬הפרו ‪1 -‬‬ ‫מולדת קצר לפני שחזר למעבדות פוג׳י‬ ‫שהפכה להיות כבר חלק ממני היא‬ ‫יפן לעדכונים ובדיקות אחרונות‪.‬‬ ‫מצלמה של דור ישן ‪ -‬אטית‪ ,‬לעתים‬ ‫ערמות של מילים ושמועות גדשו את‬ ‫מעצבנת אבל היא חברה אמינה‪ ,‬קלה‪,‬‬ ‫מדורי הצילום וחובבי ה‪ X-‬ידעו לספר‬ ‫וכשמשלימים עם האטיות החיננית‬ ‫על נסים ונפלאות שעומדים להתרחש‬ ‫שלה היא עושה נפלאות‪ .‬היא גורמת‬ ‫כשיגיע הדגם החדש והמיוחל‪.‬‬ ‫לך לחשוב ובהחלט לצלם קצת פחות‪.‬‬ ‫הפרו ‪ -2‬לעומת זאת היא מצלמה‬ ‫אולי כדי להקטין ציפיות מהסקירה‬ ‫מהירה‪ .‬יש לה ג׳ויסטיק קטן שמאפשר‬ ‫שתקראו כאן אציין מראש שאני לא‬ ‫תנועה בין ‪ 77‬נקודות פוקוס וקשה אם‬ ‫משתגע על פרטים טכניים ונתונים‬ ‫כי אפשר למצוא בה גם חסרונות‪.‬‬ ‫מספריים ‪ .‬אני תמיד מבקש ומחפש‬ ‫שיפור אחד קטן אך משמעותי מבחינתי‬ ‫מצלמה שהיא גם חברה‪ .‬שאוכל‬ ‫הוא העינית הצידית שגובתה הפעם‬ ‫לסמוך עליה בשעות הארוכות שאני‬ ‫בגלגל תיקון דיופטר ‪ -‬לבעלי משקפיים‬ ‫מבלה במחיצתה ומבלי שתעיק‪ ,‬מבלי‬ ‫כמוני‪ .‬בבחינת איך לא עשו את קודם‬ ‫תשומת לב עודפת וגם בלי נוכחות‬ ‫כבר שמדליקים אותה מרגישים‬ ‫של נערת שער או דוגמן צמרת לטובת‬ ‫שהתגובה והכניסה למצב עבודה מהיר‬ ‫השיוויו המגדרי‪ .‬אני תמיד מחפש את‬ ‫ומיידי ‪ .‬אין שיהוי כמו זה בדגם הישן‪.‬‬ ‫החיבור שקשה להסביר אותו במספרים‪ ,‬קצת מספרים ונתונים בכל זאת‬ ‫צמצמים חיישנים ודולרים‪ .‬כשזה שם‪.‬‬ ‫הפרו ‪ -2‬היא מצלמת ריינגפיינדר‬ ‫זה שם‪ .‬בסופו של יום מה שחשוב הוא מצוינת‪ .‬יש לה חיישן ‪ 24.3‬מיליון‬ ‫הדימוי הצילומי שנרשם כפי שראיתי‬ ‫פיקסלים‪ ,‬שבב‪CMOS, APSc :‬‬ ‫אותו בעינית‪.‬‬ ‫ומעבד‪ X-Trans III :‬מהיר‪ .‬היא מוגנת‬ ‫ולשנייה אחת נגש לשורה האחרונה … מים ואבק‪ ,‬חיבור לעדשות‪ .X :‬יש בה‬ ‫ה‪ X-Pro 2 -‬היא ללא ספק המצלמה‬ ‫‪ 273‬נקודות למיקוד אוטומטי‪ 10 ,‬מצבי‬ ‫הבאה שלי ‪ .‬רק אתמול חזרתי משבועיים אוטופוקוס ורגישות‪ISO 200-12800 :‬‬ ‫אינטנסיביים של עבודה בסיקור משבר‬ ‫(אפשרות ל‪.)100-51,200-‬‬ ‫הפליטים ביוון ולא פעם עברה בראשי‬ ‫שיפור משמעותי נרשם בגזרת הכרטיס‪.‬‬ ‫המחשבה מה היה אילו היא הייתה איתי יש בה שני כרטיסי ‪ SD‬הנמצאים‬ ‫כבר במסע הזה‪.‬‬ ‫בכניסה צידית חיצונית שאינה מצריכה‬ ‫שם הגשם לא הפסיק לרדת והידיעה‬ ‫את פתיחת מכסה הסוללה כמו בדגם‬ ‫שהמצלמה חסינה בפני מים הייתה בהחלט הישן‪.‬‬ ‫מסייעת בכמה מהרגעים הלא פשוטים‬ ‫היא בעלת עינית היברידית מתקדמת‬ ‫בגיהינום הרטוב על גבול מקדוניה‪.‬‬ ‫של ‪ 2.3‬מליון נקודות המאפשרת שני‬ ‫מצבי עבודה‪ ,‬אופטי ואלקטרוני לקבלת‬ ‫מה שנפלא הוא שהלבוש החינני בסגנון תצוגת חשיפה מוקדמת‪ .‬לטובת צלמי‬ ‫הרטרו נשאר כפי שהיה‪ .‬אם התרגלתם הרחוב הדיסקרטיים או אלו שמצלמים‬

‫בהופעות ובמקומות שקטים במיוחד היא‬ ‫צוידה במצב של תריס אלקטרוני מלא‬ ‫המאפשר צילום ללא קול‪.‬‬ ‫הפרו ‪ 1 -‬סבלה מבעית מהירות תגובה‬ ‫ופוקוס איטי במיוחד בתנאי תאורה‬ ‫קשים‪ .‬הפרו החדשה עשתה קפיצת‬ ‫מדרגה משמעותית מאד והיא מצלמה‬ ‫מהירה עם מערכת פוקוס עוצמתית‬ ‫ומדויקת‪ .‬כדי להנות ממנה באופן‬ ‫אופטימלי יש לעבוד עם העדשות‬ ‫המהירות והשקטות מהדגם החדש‪.‬‬ ‫קבצי ה‪ RAW-‬ניתנים גם לשמירה‬ ‫באופן דחוס ומבדיקה לא ממש מדויקת‬ ‫ועמוקה התקשיתי לראות הבדל בין קובץ‬ ‫דחוס לרגיל‪.‬‬ ‫השליטה המשופרת שהתווספה בצורת‬ ‫שינוי ‪ ISO‬בגלגל חיצוני כמו גם מהירות‬ ‫סגר המגיעה ל‪ 8000 -‬ואיכות גוף בלתי‬ ‫מתפשרת הופכת את הפרו‪ 2-‬לסוס עבודה‬ ‫עבור צילום פוטוז׳ורנליסטי וצילום רחוב‪.‬‬ ‫ולסיום‪ .‬קצת על הצילום והעבודה עם‬ ‫הפרו‪.2-‬‬ ‫אחרי שיטוט ראשון שעשינו יחד הגענו‬ ‫לנמל תל אביב כשבדיוק התרחשה לנגד‬ ‫עיני הסצינה המצולמת כאן‪ .‬העובדה‬ ‫שאין לפרו מסך מתכונן היא חיסרון‬ ‫לצלם גבוה כמוני אבל מעבר לכך הפרו‪-‬‬ ‫‪ 2‬התמודדה בלי כל בעיה עם חשיפה‬ ‫מהירה ומדויקת ובחלק מהזמן בצילום‬ ‫רציף‪ .‬מערכת הפוקוס עבדה כמעט‬ ‫תמיד וזיהתה שינויים ותזוזות בפריים‪.‬‬ ‫עוד שיפור שהוכנס הוא בעבודה עם‬ ‫פוקוס ידני שמשפר צפייה מקרוב של‬ ‫האובייקט המצולם וזיהוי ברור של‬ ‫הפוקוס הרצוי‪.‬‬ ‫על פי הידוע כרגע‪ .‬המחיר יהיה באזור‬ ‫ה‪ 7900-‬שח לגוף‪.‬‬


Yaakov Israel Interview following a new book What drives you in your daily work? My main drive is going out and experiencing the world, seeing who I meet and what comes my way. I also get very excited while editing work, I’m always making mental edits, thinking of the connections between images, making up the stories in my head.

How do you know when you got a good picture? For me a good image is one that adds a layer of meaning to the overall body of work (sometimes it happens that I understand the importance of an image while I’m making it and when this happens I usually get very excited…)

ly improved thanks to my teaching.

Why do you choose to work with Film in the digital era? The main reason is that I work best with large format cameras. I find this medium generates a certain photographic relationship with my subjects which is an important element in What is your favorite place to my work. Another reason is photograph?  that the digital equivalents What is your favorite color? My favorite locations vary are so expensive, but this is No favorites / All colors as they are very dependent changing as technology gets on what I’m working on at cheaper and more accessible, What was your favorite the time. so I’m constantly considering book/cartoon as a child?  adopting new ways of workSwallows and Amazons se- Do you feel that your phoing. ries by Arthur Ransome tography has gained from being a teacher?   What would be your advice As a teacher I’m always for the younger generation? How did your photography reading and researching, Find something that you change over the years? re-visiting very well known are interested in doing and Probably the most domphotographers and discov- make the time to do it, put inant change has been in ering new ones. In addition, it into your weekly / monththe understanding of what from seeing so much work ly agenda and do your best I am doing. It has become I become more and more not to believe all the excusclearer to me and as a result critical about my own work es you come up with for not I’ve become much more and it is also a good excuse going out to do the work… focused and this I think has to constantly keep rewith time it will become a changed many things in my searching the medium. So routine and part of how you work. yes my work has definitelive your life.


Doron Oved


Omer Burin


Aner Tausig


Tomer Appelbaum Vaknin


Ohad Zwigenberg


Ohad Zwigenberg


Omer Burin


Ohad Zwigenberg


Noam Revkin-Fenton


Yehoshua Yosef


Yehoshua Yosef


Yehoshua Yosef


Dan Haimovich


Dan Haimovich


Dan Haimovich


Uri Lenz


Noam Revkin-Fenton


Efrat Farajon


Efrat Farajon


Omer Burin


Tommy Harpaz


Seth Harald


Yehoshua Yosef


Ilia Yefimovich


Hadas Parush


Hadas Parush


Hadas Parush


Hadas Parush


Katharine Cooper


Katharine Cooper


Katharine Cooper


Katharine Cooper


Tommy Harpaz


Aner Tausig


Aner Tausig


Tommy Harpaz


Danielle Shitrit


Liora Naiman


Dror Garti


Yaniv Nadav


Dror Garti


Noam Revkin-Fenton


Tommy Harpaz


Abir Sultan


Abir Sultan


Abir Sultan


Abir Sultan


Abir Sultan


Abir Sultan


Overnight

D

uring 2013, Naama Klaiman* has been photographing beds used by young men and women, wards of a hostel for homeless youth. The frontal photographs of the beds have quickly become portraits of the youths, who are absent from the frames. The boundaries between personal and public space are blurred, pointing to the complexity of residing in a temporary place and to the persistent effort to turn it into a home. The place has 24 beds, which are used throughout the year by 450 children. This turnover creates an inflexible living environment for the wards; the only feature they may choose is the bedclothes, which they pick out of whatever is available. The few items they carry in their personal luggage become the defining elements of their identity. *This photography project was done in conjunction with volunteer work the photographer has been doing in the hostel, and it reflects her artistic perception which considers the inter-personal relationships developed in this project, as well as others, as a basic condition for the making of her art. These days Kaliman is working within the walls of a women’s prison, in hospitals, and in homes for the elderly, in order to expand the range of the Bed Project.


Reginal town of galich (1900s 1930s) in photograpthy by Mikhail

M

ikhail Markovich Smodor (1882—1942) was born in the shtetl Lyubavichi in Orshansky Uyezd, Mogilyov Governorate. For seven years he studied with the famous Warsaw photographer Jakow Tiraspolski. His course of instruction included visits to museums and picture galleries, and reading books on art. The master photographer’s pupil had to acquire a good knowledge of Polish and be able to speak fluently in French and German. Smodor could only lay hands on a camera in the fourth year of apprenticeship, when he began lessons on the art of retouching — he took several self-portraits and corrected any defects with his own hand, striving to make each image irreproachable. In addition Tiraspolski’s pupils followed a course in the ethics of the studio pavilion. The master-examiner would act the part of a visiting customer and they had to greet him in the proper manner, receive him, listen to

his requests and implement them, guiding him through the procedure. As the customer took his leave the apprentice had to express sincere gratitude for the visit and politely enquire where the items on order should be delivered, and at what hour. The student could only expect good recommendations after successfully passing these examinations. Mikhail felt deep respect and gratitude towards his teacher for the rest of his life. After finishing his studies Smodor briefly worked in a studio in Moscow, to gain experience and earn enough money to purchase the latest photographic equipment. In 1906 he visited Galich for the first time. He probably made the trip for ‘reconnaissance’, since he looked around, visited the photo studios of potential rivals, convinced himself of their inadequacies and fell in love with the town and its inhabitants before leaving. A year later he returned to Galich, this time for good.

After receiving permission from the governor, he opened his own pavilion studio entitled ‘M. Smodor’s Universal Photography’ and began receiving the first clients, who very quickly appreciated the quality of his photography and the high standard of service. Smodor worked alone and refrained from employing assistants, often spending 20 hours a day in his photo workshop. He spent his earnings on supporting his family, on books, art albums and subscriptions to photography magazines, etc. His love of books led him to make friends with K. V. Palilov, a respected Galich bookseller and local historian. At Palilov’s request Smodor photographed views of Galich and its architectural monuments, landscapes of the lakeside area and everyday life of Galich inhabitants, leaving descendants with priceless documentary records of bygone days. In 1913 there was a royal visit to Kostroma by the Tsar’s family. An exhibition of local handicrafts was organised for


the occasion, featuring more than 1000 photographs. Several dozen of these were taken by Smodor. Photographic views of Galich by Smodor were well known in Russia. They were printed in the form of postcards, with editions running to many thousands. Unfortunately they never bore the name of the photographer. During the First World War Mikhail Smodor was relieved of military service after diagnosis with a heart complaint. Ambulance trains often came to Galich from active units. One day a nursing sister from one such convoy visited his studio. Smodor took several pictures for her. He gave her the photographs that same evening but kept one image for himself. The face of this young woman with an imprint of perpetual fatigue from the calamity and horror that war had brought to Russia made a deep impression on the photographer. When working on this image Smodor removed all extraneous detail and concentrated our attention on the girl’s eyes, resulting in one of his most powerful photographs, entitled ‘War’ by the author himself. These were disturbing and troubled times for the country. Initially Smodor was an enthusiastic supporter of the 1917 Revolution but later, like many others, he became disillusioned and completely disagreed with

the new social structure; he was bitterly opposed to collectivisation and the exorbitant taxes. Smodor’s studio emptied as time passed and commissions were few and far between. Customers only began returning to the studio after the Civil War, but the reason was lamentable — on the whole these were relatives of those who had perished, requesting images from past years since the photographer always preserved the negatives. For these repeat portraits in memoriam he only asked a symbolic fee, and frequently gave the photographs away without charge. With the onset of NEP (the New Economic Policy) the life of Mikhail Smodor and his family improved and commissions reappeared. A stream of Soviet officials who preferred group portraits flocked to the photographer’s studio. Mikhail Smodor’s close friend, the artist Ivan Kalikin, who in the 1920s and 1930s drew caricatures for the best satirical magazines in the country, heard stories about groups of important officials on visits to the Smodors and drew a cartoon on this theme for the ‘Province’ series that was awarded first prize by ‘Crocodile’ magazine. In 1921 a branch of the Kostroma Scientific Society devoted to regional studies opened in Galich and established a museum, for which Mikhail Markovich took many photographs

recording life in Galich and particularly in the Fishing Settlement. Smodor was on friendly terms with many of the fishermen and accompanied them on fishing trips, photographing the fishermen’s families and work collectives, and familiar with every detail of their everyday life. It was the inhabitants of the Fishing Settlement that supported Mikhail Smodor and his family in his hour of need — in 1935 he was falsely denunciated, arrested and dispatched to the GULAG to work on construction of the Moscow-Volga Canal. In 1936 a photo service was organised as part of the Canal construction project. This organisation had posts and departments along the entire route of the Canal. With the help of a GULAG doctor, an ailing Mikhail Smodor was dispatched to one of these posts, by now at the end of his strength. He was assigned to laboratory work and the design of posters, slogans and schedules for competitions between GULAG prisoners. The painting lessons given by his friend the artist now came to good use. In 1937 Smodor was released. His health was failing, the photo studio no longer belonged to him and photography had lost its pleasure. In 1941 he saw his eldest son leave for the front. The photographer died in 1942, in Galich.


Aging Young Tamas Schild


P

ortrait series of a young roma mother from rural Hungary. A self-assigned, ongoing project that started in 2009. Environmental portraits made in available light, resonating to a so called uneventful everyday life, with an emphasis on vulnerability and hopes, and with the intention to elevate the model somewhat from a heavy ground with the power of aesthetics. At the beginning of the project Nelly was already a mother by the age of eighteen. By now she is a mother of three.


Lots of great musin Canon 70-200 f/2.8

MY BAG: Ohad Zwigenberg Canon 5d mark iii Canon 35mm f/1.4

GPO card

Extra batteries and memory cards

KODAK T MAX and TRI-X films


Canon 1dX with Canon 50 mm f/1.2

xpan ii with 45mm lens


The Archive Magazine wants to thank all the people involved in the making, especially the photographers that took part in this issue. Thanks to everyone who sent photos, gave advice, and provided moral and artistic support. Special thanks: Yoav Dudkevich Hadas Parush Keren Refaeli

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