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The Archive

THE ARCHIVE MAGAZINE FEATUERS In this issue: Elad Malka - “Private Peres” ActiveStills - “Photography as Protest in Palestine/Israel”

Gili Yaari - “Stranded in Greece - Greece Refugee Crisis“

INTERVIEWS Interview with Ahikam Seri

Interview with:

Ahikam Seri What changed in photography over your career ? I can think of some major changes in press photography in the last 20 years, but they are technical; a move from film to digital, was for me not smooth. Then, most content went from print to online, which pushed press photography to be done much faster. And in recent years, amazing video capabilities integrated into stills’ cameras, along with a growing demand for a moving image by online platforms. But ultimately the basic is still the same - go out and find new stories to report. How did you start working with AFP?

On 2012 during ‘Amud Anan’ military operation in Gaza, I took some video assignments for afp, in parallel to my stills work. Years went by and I’ve become more and more involved with the video team of afp. What was the most memorable day at work? I cannot think of a specific day being the most memorable - there have just been too many. I’ve had some very significant days at work, such as the day after Israel withdrew from Lebanon and the South-Lebanon-Army people flocked the border escaping into Israel, or the day of Arafat’s funeral, or the Israeli pullout from Gaza, or the day Amona was evacuated, but the list is long.

What was the most interesting country to work in as Photojournalist? I took several assignments in Jordan and Turkey, and I travelled the world a lot in the past, but I find it here to be where I can contribute the most, so I concentrate my work locally.

story, or tells a known story in a new way. How do you know if you shoot a good picture? When I shoot and the image doesn’t bore me, it is good for me.

Advice for starting photographers How did you become a photographer? What do you think about cell phone phoMy friend had built a darkroom at his par- tography? ents’ warehouse on 1993, and I soon joined Advice for starting photographers - have him. The chemical magic instantly bought patience, lots of it, and try to let go of your me. 1995-1998 I studied photography in Je- ego as much as possible, this job is not rusalem, and soon-after, I started freelanc- about you, it’s about what you bring. ing for a local newspaper and for flash90. The photo editor of that local paper and I, What do you think about cell phone phowe once worked together as bellboys in a tography? hotel, so he called me up for the job. He’s Cell phone photography is a great thing, it a farmer now, btw. I’ve never thought I’d gives almost everyone the ability to inbe doing journalism, thought it was some- stantly shoot at almost any time, and for thing to do for the meanwhile. me I feel less obligated to carry a camera everywhere like I once used to. Cell phone What is your favourite color? photography has dramatically revolutionI like colors that doesn’t stand-out. Grey is ised the coverage of spot news; some like a favourite among these. to say that since it began, photographers are losing their work. Yes times are getting What is your favourite cartoon or a book ? harder for photographers, but I’m not sure Don’t really have a favourite book; the last cell phone cameras are the reason - coverbook I managed to complete was ‘Tashach’ age of spot news is only one out of many by Yoram Kaniuk, who tells the story of skills a photographer is required to have. 1948 from his own experience, in what I Most skills, like knowing your way in thought was a cruel-cynical way, and it left the field - and then out of it in one piece, great impression on me. or being able to engage with a variety of types of people, or to recognise a good What is a good picture in your opinion? story and report in-depth on it, and to A good picture for me, and as already said be ethical and to work hard - these skills by many others, is a one that tells a new don’t come with a cell phone.

Yotam Ronen/ActiveStills

In this issue we decided to go back and create a retrospective on the most interesting work that we have received from the photographers for the past two year. We showcase the picture of the Issue of each of the 11 magazines.

Shiraz Grinbaum /ActiveStills

Noam Moskowitz

Ohad Zwigenberg

Nitzan Hafner

Miriam Alster/ Flash90

Yotam Ronen/ ActiveStills

Noam Revkin-Fenton

Noam Moskowitz

Yehoshua Yosef

Wissam Nassar

Lior Mizrahi

Noam Revkin-Fenton

Private Peres Elad Malka

Photographing large VP events is always difficult, most of the time you find yourself in one position and not able to move. Shimon Peres’s funeral was no different, a lot of VP personal from around the work attended , it was very stricken and crowded but venue, but Elad Malka was able to create a stunning and very personal body of work from this official event.

A new book by Activestills and edited by Vered Maimon and Shiraz Grinbaum shows a new way to discover documentary photography, from both the side of photographers and the people that find themselves on the other side of the lens.

day life in extraordinary situations.

Activestills: Photography as Protest in Palestine/Israel examines the collective’s archive and activity from historical, theoretical, critical, and personal perspectives. It is the result of an indepth dialogue among members of In 2005, a group of photographers took the collective and activists, journala stand alongside the people of the small ists, intellectuals, and academics, and town of Bil’in, and documented their stands as the definitive study of the fight to stop the Israeli government collective’s work. building the infamous West Bank Barrier. Inspired by what they had seen in Combining striking full-colour photoBil’in, the group went on to form Acgraphs with essays and commentary, tivestills, a collective whose work has Activestills stands as both a major conbecome vital in documenting the strug- tribution to reportage on Israel/Palestine gle against Israeli occupation and every- and a unique collection of visual art.

Stranded in Greece - Greece Refugee Crisis

Gili Yaari

Greece has become a flashpoint for the migrant crisis in Europe over the past year. More than 1 million people illegally crossed into Europe in 2015 alone, with some 800,000 of them arriving via Greece. Most of the migrants were coming from Syria, Afghanistan and Iraq but also from other countries. They are fleeing wars and violence in their home countries in hope for a better future. The situation in Greece has grown complicated following a deal between the EU and Turkey in March 2016 that stipulates all new arrivals to Greece must either apply for asylum in the country or risk being sent back to Turkey. The agreement has caused a bottleneck of people, particularly along the border with Macedonia at a makeshift camp in the village of Idomeni but also in many other places along Greece. Makeshift refugee camps appeared along the country in Piraeus Port, gas stations and abandoned buildings. Greek authorities started establishing camps for the migrants, mostly in military camps, in order to accommodate migrants in those camps. The future of these migrants is unclear, having no home to return to and no place to go. They are dependent on NGOs and volunteers, coming from all over the world, who provide most of their physical needs including tents, food, medicines and physical treatment. Handling Greece migrant crisis, as part of Europe’s migrant crisis, is a great challenge for the entire European community. It touches sensitive nerves and scars from distant dark times in Europe’s history. Time will tell how Europe will handle this crisis, the larger since the days of WWII.

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 Keren Refaeli

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