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1.    Street photography is for me a way of life. I see it as my duty to study society and mirror it in my work. Street photography should be done with great love to people of all levels. Photographing in the street, you encounter many challenges, and you get many rewards; it brings out the best of you, it teaches you a great deal about people, and, even more, about yourself. These days I work mainly in Tel Aviv. People tend to think that photography is easier, more photogenic and interesting, in "other places", but I know that each town and city in the world has its unique character.

2.    I like taking people's pictures at close quarters, but the range and closeness depend on the story of the picture, and this you have to identify in advance.
 The moment you have decided that the best story will be from the closest range possible, you start moving toward your "objective" calculating in your head endless parameters and factors: how to adapt the proper pace so as not to alarm the people you want to photograph, discerning their mood, their body language, and – as you move- calculating the technical aspects of the end picture- composition, angle, speed etc. Of no lesser importance is planning in advance your exit, so that it will be smooth and without leaving any traces of you having been there. The ability to enter the private space of a person, promptly and quietly, take a photograph, and disappear without being seen or noticed, is every street photographer's aspiration. It is possible, but being able to do it takes a lot of practice and persistent learning. It requires training yourself to be able to adapt to complex situations in a fraction of a second, and complete your "mission" with another "triumph". The techniques each street photographer develops are rather personal and depend on personal experience and your unique psychology. It is very important to analyze situations where a photo at close quarter failed, and understand the hows and whys. Photographing people from close range is often necessary, if you want to come up with a great picture. A look at close range with a wide angle lens isolates a situation from other stimuli in the street, and emphasizes all the small details the eye loves when it strolls over the picture. Asking peoples' permission to take their photograph is out of the question for a competent street photographer. He is, therefore justified in using all the deception, diversion and camouflage methods that he knows, that eventually will earn him an authentic and interesting photograph.

3          . I actually began to do street photography before I even knew there was such a                  genre. There is no photographer whose work has influenced me. I have always                  taken my inspiration from the street and the people in it, and not from books or                other photographers. For this reason I do not have at home even one book of                     photographs.


 4. The way a street photographer thinks and acts is quite like a hunter's; the more experienced and accomplished he/she is, his distance from his object will tend to get shorter. His chief tool for capturing interesting situations in the street is his ability to surprise and his persistence in the face of failures. For my part, I use to go out in the street with just one camera and one lens, preferably ultra-wide. This obliges me to get as close as possible to the scene. I think this is an excellent method to improve one's self confidence and courage when one strolls in the "urban jungle". There is no doubt that having to cope with closeness to strange people may have good effects also in one's private life. It is inevitable that you will experience some friction with people, but even this is a useful experience; you are obliged to find some creative solutions to this, and, in the course of time, you develop a positive attitude which will make people accept you, and even like your presence among them, which, eventually, translates into good, intimate pictures.

5.    Classical street photography treats mainly the outside layers of urban society. The photographs seek to impress with a clear and immediate impact. This may be said to be a sub-category within the category of wider documentary photography, which is wider and goes deeper. This is less immediate than street photography, and needs long periods of "scratching" and "exposing" …Each social-documentary project I undertook began with just objectless strolling in the street, and an accidental meeting with a person. When I move in the street under the hat of a photographer my object is clear- the end picture I imagine even before the final click. But the moment you recognize that you have before you the beginning of a more complex story, one which will need more than one quick picture, you change your pace and shift into a different mode, so to speak. You feel that you are beginning a very long voyage, you shift gears, and all you have to do at this stage is watch and enjoy the trip. The object is not yet clear; you may end up with a series, a project, an article, a book, or a documentary film. Now you operate under one of several possible hats, as required by the unfolding story, and the photographer's hat is only the last one, and for a relatively short time. The main work in a documentary project I decide to undertake is fieldwork- studying the group whose story I want to tell, and establishing an intimate relationship with its members. This takes a lot of time, patience and curiosity. At this stage I endeavor to become accepted by all the group's members, and have my presence become natural to them. At times several months will pass before I feel that we have reached mutual understanding and that the time right to start photographing. It is quite difficult to stay a long time in the company of people and not to become emotionally attached to them, but I believe that this is the right condition, and timing, to start photography work; in the end you gain not only good pictures but also friends.

6.    When, as a child, I started photographing, it was with a rangefinder camera. Later on I experienced with all kinds, makes, and formats that came about and were available. But out of this prolonged and varied experimentation I came to realize that, for me the rangefinder camera was (and still is) the best system to work with: you work with the least of technological intervention in the creative process, and with the least conspicuous camera. It is true that there is no such thing as the "perfect camera", and that you have to learn to live with limitations and to make the best out of your machine. But with all this in mind I am convinced that, for me, the best option is a small, quiet, precise and dependable camera with a great choice of first class glass, which would serve me faithfully for many years. My preference to stick with film has probably to do with the time I started getting interested in photography and with my early experience with analogical photography and dark room work. The present so called "digital age" is impatient with those who prefer to work slowly and deliberately, and is calibrated to cater to immediate satisfactions. To my mind, this is rather unfortunate. It overpowers our commonsense and blurs our senses which are so important for photography in the intoxicating environment of the street.

7.    In recent years I have been working exclusively in Tel Aviv. The city is small and divided into several interesting quarters; the sea and the seashore in the west, skyscrapers in the east, an old seaport in the north, and another one in the south, and mixed slums in the south- great hunting grounds for every hunter-photographer. In the last three years I have been concentrating on the southern part of the city, the area of the of the old and new central bus stations. This is a place of unique character; it is populated  by old Israelis intermixed with people of all origins and kinds-African refugees, work migrant, drug addicts, prostitutes, drug dealers etc. On this very small space (no more than five minutes' drive from one end to the other) live thousands of surreal and complex people side by side in a very delicate harmony. This place is fascinating from a human point of view and also challenging for me as a photographer. This region is considered number one centre of crime, drugs and prostitution in Israel. During the years I have managed to build up a network of personal relations with many of the populations inhabiting this quarter, and to do several projects on them. These projects have been published in the local press as well as in several of the main television channels.

8. At the moment I am working on two personal projects: 1- a documentary film about the same crime- ridden area where I have been working for the last three years, and 2- A project- only at its beginning- documenting the work and daily life of the Tel Aviv firemen, hoping that at its completion these brave men will gain some of the honours and glory they deserve.