ContactAboutHome

THE ANALOGICAL PHOTOGRAPHER- VANISHING SPECIE IN A DIGITAL WORLD.

Striving for achievement, competitiveness, and the desire to always be first are stamped in us as a society from times-bygone. This is doubly true in our days, living as we do in a cruel, crazed world which has lost all patience and forgiveness toward those who lag behind. At first, before the digital revolution stormed in on us, she knocked softly on the door of Photography World gently begging to enter, offering magic and miracles. As this looked suspicious, she was allowed in, carefully, by the back door and only on the condition that she would not interfere with our tranquil routine of life. Who would have thought that ever since that day she would take control of our house, old habits, our life in genera, in fact? What are two hundred years of photography in human history!? It is only yesterday that humanity was being photographed in black and white and the world was standing at attention, calling "wow!!!" getting excited, laughing, shedding tears… and behold: today there are those who already want to format it all out of our memory with a push of a button. At times it seems to me that we are drawing near to a time of final collective photographic suicide typified by the pursuit of The Pixel, Worship of the Sensor, and offering innocent sacrifices to various photography sites. The photography era as we knew it is nearing its end. In its last convolutions it is still striving to deny the new reality, and to insist, for the sake of the coming generations, on its undiminished vitality. The loyal faithful practitioners of film/B&W photography vehemently refuse to forget the times when the word "photography" had a different meaning. "Today one can make children in the test tube" one of them said to me grinning "but I rather like making them myself", thus summing up the birth of the new era, in which metamorphosis he feels he has no part. It is the end of the time of the larva; it has nothing new to contribute. The pupa too is losing patience; something new is cooking inside it. There are rumors about something new coming out, of ravishing beauty, rich in color, jumping with ease and easily intoxicating. Alas, how sad that its life will be short, too shot! Well, what more awaits us beyond the corner? Although from an evolutionary point of view differences between man and apes are widening with time, as far as the world of photography is concerned gaps between the species seem to be narrowing.

"ALL OF A SUDDEN A MAN GETS UP IN THE MORNING AND FEELS HE IS A PHOTOGRAPHER…" And then begins a prolonged, and tiring, sadomasochistic search for the "perfect camera": You knock down several photography sites, you wear out a couple of search engines, until they need an overhaul, you lose three friends who got fed up with you, you call your Pinscher "Pixel", you make the camera price-comparison site your home -page, and lastly your excess to several forums is blocked for becoming the "top serial nudnik" (nagger) with the endless question, "what camera should I buy ?" Now, when these three months of preliminary research come to an end, and another two weeks of sleepless wait for the announcement of the last model in the new, improved, and sophisticated series, "Yohanan 5" have passed, you start out, all on fire, resolved to be first to take advantage of the bargain deal you have found. You are resolved to get there; it is the deal of your life! The engine of a Boeing 747 are a child's game comparing to the price comparison engine, which shot you there, to that small shop in that little solitary village, because you could get there "the camera" for an euro and a half less than at that over charger's shop next to your home. Your taxi hurries on the way back (everything has been planned: "one does not drive when one is buying a camera"), you hug your new camera all the way back, the pictures you and your Yohanan will soon take run in your head. With Pinhas 3 you would never get that quality' you think to yourself, smiling contentedly. It is almost night when you are back, home. Poor Pixel has not been let out all day. You take it out for a 1/125 of a second and come back running for the tripod. "Tonight I must take photographs of the sun setting!" you think. It is almost midnight, but no matter, Yohanan 5 can bring back the sun with its ISO Million function. Well, from that day on the sandglass has reversed. Let us see how long it will take before Yohanan's price will start going down. You go on checking the prices to make sure you have not come out a sucker. And then, all of a sudden it happens: in a sell/buy forum you discover the following add "For sell a Yohanan 5, original box, as good as new. Reason: Upgrading". The little prick you feel in your left side is not because of the price (30% less than the price you paid the other day), it is because of the word "Upgrading". "What the heck is he upgrading to!?" you ask yourself. A prompt search in the photography site makes you emit a shout that burns four pixels of the very sensitive sensor of your Yohanan 5; in the home page of that site there is a huge, irritating banner inviting you to the launching party of "Yohanan 5.5"... "What to do now? Should I start reading the instructions booklet, and stay with Yohanan 5 for a couple of years, or should I rather sell it right away and upgrade?" You ask yourself. The sand clock has turned into a water clock and the price is going down at the rate of one dollar an hour!! You decide to stay with your camera, "no need to overdo things", you think, and you start playing with the buttons you have never before got to know. You start with page no.1. At page 4 you have already lost your concentration. You feel heat waves coming up your body, and soon heavy drops of sweat are dripping on Yohanan 5's three-inch screen and are nibbling at the very foundations of your relationships. "If the new model has a screen wiper, we will say good bye, my friend" you say. Curiosity about the new, upgraded model never lets go and you pick up the phone and start questioning your forum-crony. You: Hello mate, why are you selling? The flag ship of all times, no? Seller: What ship? Hardly a rubber boat with a white flag! The new model in comparison is an aircraft carrier! You: Really? What does she have? Seller: Full Frame! Each picture - a torpedo! You: So why did you buy it, then? Seller: I had to upgrade because of the noise; with the old one each picture looked like a color -blindness test. You: Say, how many clicks she has done? Seller: Nothing at all, hardly10,000. I bought her yesterday and photographed only one sunset. I uploaded the 300 best ones to our site, the rest I spread in various sites abroad. Let them learn a bit! Apart from this I heard a rumor that the Yohanan 7 is coming out soon and that it is going to have far reaching improvements worth waiting for even a whole month! You: Wow! Really!? What? What? Spill it out! Seller: One of them is a new backup system, which will keep your pictures forever. For example, when you click on the delete button the camera will ask you into which site and even category you would like to erase the pictures. Another new system is called "The Big Brother" and it connects the camera, through satellite, to all security cameras, in any street corner in your town/city. Using this we will be able to capture all street situations on- line, 24 hours a day, without having to ask permission, and without leaving home. Well, the game is over; for one day you were a king, and now you have been cornered, whatever move you make, you have been had!!! How can you go on living, feeling as you do that others have what you will never possess? Had you been Japanese, this is the moment you would have taken the sword off the wall; however you don't have the courage to put an end to all that madness. You decide, therefore, that immediately at the end of 30 days (you had been blocked, remember?) you will put a "sell" add at the forum. But what to do in the meantime? You feel that each click you will make will cost you at least a euro. Well, there is no other choice; it is time to look for "Pinhas 3", your film camera from the last century. You smile to yourself "I wonder whether it is still working?" You find it with a kit lens and ask yourself "with this I took pictures all those years?" "Well in those years "kit lens" was not a word of scorn". Actually, it never let you down, it was always there for you, and you did your best work with it. Your father's words come to your mind: "Talent will bring you money, but money will never buy you talent". Nostalgic thoughts flood you while you are trying to focus on a blurred image at the end of the room. Another turn, and there you have it all clear in focus: "Pixel!" Is it you? It is all your fault!! A microscopic creature, you, you have managed to ruin a whole culture that existed here for two hundred years, you and your friends that multiply like rabbits, duplicate yourselves every three months, and each time succeed to convince us that we need all of you. The arm's race is at its peak, its purpose is strategic: maintaining deterrence potential! In the background the prophet's voice is thundering: "The Film is dead, long live the Pixel!" You know that the battle will be decided in the built-up area- one on one, face to face.

STREET PHOTOGRAPHY FROM A PERSONAL ANGLE

Seven years have elapsed since the moment I realized that the photographs I had been posting on the net were Street Photographs.  No doubt I would have missed this wonderful genre, had it not been for my late exposure to the internet. So I decided to adopt it whole-heartedly. Picture by picture it has revealed to me how amazing the street is: full of thrilling human experiences in every corner, alleyway, and neighborhood, all places where people are to be found.

Seven years have elapsed and I still hurry to the street like a little boy to his playground. The desire to pass every free moment in this playground has not faded with the passage of time. The street is my playground, and people in it are my playthings. The street has its own rules and the passers-by are my unconscious partners in the game. In my game I strive to capture the people and arrange them in various compositions, some more or some less sophisticated that will fit in with my ideas, with the pictures I see in my imagination. It is my imagination that insists on a personal style, the fingerprint unique to each photographer.

The workspace of the street photographer consists of constantly changing population groups. They are continuously on the move, changing day by day, each one having its own purpose and target. Coping constantly with this human flux, and mastery of the language of each group (at times even of a single individual) are necessary if you want to understand people's behavior and the rules that shape it. A lot of time, patience, and a great deal of contact with different, strange, people are necessary until one acquires the ability to maneuver successfully in the street, inside people's private territory. Unique ways of seeing, the ability to analyze a situation and react quickly to it, are the tools the street photographer carries with him. His or her personality, experience, intelligence and approach to life are the main weapons in the street. The game here is not a competition between two teams: it is you against the rest of the world, alone but not lonely. You are equipped with that small box, containing the most outstanding collection of playthings in the world. 

It is twenty-seven years since I got my first magic box, and it is only now that I have come to realize that all those years have been a long preparation for what still lays ahead, what I have not yet done. Each kilometer I have travelled, each shoe I have worn out, each person I have gotten to know, each picture I have taken, everything I looked for, found, thought, understood, all these and more are the corner-stones on which my street photographer's personality is built. This personality is what we street photographers bring with us to the playground of street photography. It is with this personality, and only with it, that we confront the rest of the world, with only a little box equipped with an eye of polished glass separating us from the world. Through this magical eye we look at the world, trying to understand it, analyze it, react to it with the intuition unique to each of us, according to our particular view of the world, expressing ourselves through and by it. And she, the camera, is doing her best to capture for us those wonderful magical moments, brought in front of us by our personal traits and imaginations, and that the street in its generosity brings forward and presents to us. No matter what we call this dream catcher, admit that you too have been captured by its magic, and the sweet music of the shutter.

BEHIND THE SCENES OF STREET PHOTOGRAPHY/ PART A .

However we look at it, we will always come to that special moment which grabbed us by the head, heart, stomach, or balls, if you will.

How is it, that time and again, there is someone that manages to reproduce that special moment, and hits us with an arrow straight in the sensitive spot? Is there a system, some formula that will, once and for all, save us, millions of photographers, from the endless search for….well, what exactly are we looking for?

Much has been said and written about various schools that promise desiring photographers 100% success should they only follow stages 1 to 10 or other long lists of do and do not do when you come to "that moment".

But how do you identify that moment?   Is it all random, or a matter of intuition? Is it possible to prepare for such a moment? Can one train in preparation for it? anticipate it? Is there a whole theory behind a fraction of a second? Is it possible to reproduce the formula time and time again?

3 photographers went on the road…

 

A nature photographer goes to the lake to "catch" a one-eyed king fisher when it comes in on its habitual morning dive. He sets his tent, spreads a camouflage net, puts a photogenic branch on the water as bait, and pulls out of his bag a portion of patience, a lot of patience! Both he and the kingfisher have a direction and purpose…

The fashion photographer arrives on a nice morning at his studio for a session with Margaret Thatcher, to prepare a photo for "The Woman" magazine. His assistant prepares the background, the lightening and the camera, the stylist, the make-up artist, and the hair stylist all polish the lady up. All are waiting for the photographer, who is playing on the bar backgammon with a friend. He has a direction and a purpose: to make her look like Claudia Schiffer.

The press photographer goes quick and nervy the moment he hears his beeper's buzz: he arrives at the location in order to photograph some happening planed for the day. He has a direction and a purpose: to be the first there!

There is nothing more strange and baffling than the sight of a "strange bird" roaming the streets days and nights , in rain and in heat, carrying half a studio on his back, and to top it all –no direction and no purpose…

 

 EXCUSE ME GOOD MAN, COULD YOU TELL ME HOW I CAN FIND AN INTERETING SITUATION ?

 

The street is the most complex and dynamic work environment, where situations appear and sleep away in a fraction of a second.

The photographer's main task is to create order within the disorder dominant in the eyes of most untrained observers. But the road to the top of the mountain, where the decisive moment is to be found, is still winding and fraught with obstacles.

The journey to the summit of the situation is a complex and challenging, and like any other undertaking requires advanced planning and a great deal of training. Our acquaintance with the area must be deep and precise down to the last detail. We have to be able to "read" the street with all its components precisely like the engineer who is able to read a complex scheme of a large electric instrument.

 

Direction and target- projects

Everybody likes projects; it is convenient for all, papers, magazines, galleries, agencies, even friends in various photography sites. But mainly it sets you, photographers, apart from the rest of camera holders; it demonstrates your maturity as photographers.

No need to say "I photograph just for fun". In the last analysis every photographer aspires for recognition by some kind of getting his/her work published. Only few these days have the patience to cope with galleries and work files. If you are not already working on some project, this is the time to think of one. There is no greater satisfaction than going out to the field, organized and focused on a target, some project you have chosen and decided to consecrate your time, thoughts, ideas and unbridled imagination to. These will lead and move you forward toward the most meaningful work for which cameras have been invented.

Street photography, like all life's domains, may be difficult and fraught with crises and failures, especially for those photographers who lack patience, and put most of their free time in looking for sophisticated equipment which will bring them – so they hope- the "perfect picture" rather than in the street itself.

Street photography is rather easier for those photographers, who are dogged, strong-willed, who have initiative and are persistence. Having jumped over the high hurdle of training they will be able to reproduce their success time and time again.

In the next chapters I shall try to be more specific and to answer various questions which I have been asked. I will mainly try to outline an orderly path of work habits I derive from my own personal experience. This always leads me confidently in the various confrontations with encountered by the street photographer.

1. First steps- prior to going out in the field.

Planning the "mission" begins before leaving your home. It is important to define for ourselves several parameters which will help us ensure that we are ready for all eventualities:

A. Be familiar with the location where you are going to work.

 Various locations are characterized by their unique populations. It is very important to be familiar with these populations so as to be prepared physically and mentally to meeting with them. I mean mainly recognizing the measure of freedom of action one has, and keeping a balance between being taken as a threat and being threatened.

B. Take care your equipment fits the character of the location: At the end of the process a street photographer will know how to cope with any situation, in any location with one camera and one lens. Any camera, whatever its "rank" will do the job. Any other piece of equipment will only handicap the photographer. Those who possess a wide choice of equipment will do best to take with them only the most essential equipment, and the most fitting for the location where one is going to work. Bear in mind that the photographer's personal abilities are more important than those of the camera. The best choice will be one (prime) lens with the focal length depending on consideration of the possible measure of approach to the subject of photography and the nature of photography one wants to convey to the viewers.

           C. Adapt what you wear to the nature of the location; choose cloths that will not make you stand out of the general population of the place , so as not to draw unnecessary attention .

BEHIND THE SCENES OF STREET PHOTOGRAPHY/ PART B

THE CAMERA : THE HIDDEN PARTNER IN STREET PHOTOGRAPHY. 

In the last chapter I spoke about the first steps in street photography. I said:"At the end of the process a skilled street photographer will know how to cope with any situation, and in any location, with one camera and one lens. Any camera, whatever its "rank" will do the job. Any additional piece of equipment will only handicap him. Those who possess a wide choice of equipment will do best to take with them only the most essential equipment, and the most fitting for the location where they are going to work. Bear in mind that the photographer's personal abilities are more important than those of the camera. The best choice will be one (prime) lens with the focal length depending on consideration of the possible measure of approach to the subject, and the nature of photography one wants to project to the viewers."

SHOW ME YOUR CAMERA, AND I WILL TELL YOU WHO YOU ARE…

Beyond our basic need to capture moments that set our imagination on fire, there is apparently a constant (and incontrollable) impulse to get results "of high quality" by this or that item of equipment. This is a wide-spread mistake among photography aficionados!  This "high quality" they aspire to achieve seems to them only "a matter of price". Unfortunately for them real quality is born in our imaginations, it cannot be wrapped up like a gift package. Good art has never been a matter of a casual click, nor dependent on sophisticated equipment. The brush used by great painters 500 years ago is the same as the one we use today; the artist's greatness is not in his tools, but in his ability in using them.

SO HOW COME THE CAMERA PLAYS AN IMPORTANT ROLE IN THE PHOTOGRAPHER'S WORKS?

There is nothing more important for the serious photographer than being the owner of a camera that will go with him/ her "in water and fire", a camera that will fulfill all his wishes and dreams, but one which will not require any special attention whenever he wants to be left alone in the face of a situation, when he needs to delve into his own intimate creation, when, that is, any occupation with the camera's technical side will constitute a brutal intrusion into his creative process.

The choice of the right camera is, therefore, an act that will stay with its owner for years to come. There should be a strong bond, a telepathic bond almost, between photographer and his camera. But this is almost impossible in our times, because of the current world "upgrading epidemic".

Basically there is no such a thing as a bad camera: each type of camera has been produced, in its time, for a certain target-public, with characteristics endowing the camera with certain advantages and disadvantages in relation to other cameras. The creation of a "telepathic relation" with one's camera develops in years of work and its results are more important to the photographer than this or that new technical device.

When choosing a camera great stress should be put on fitting the camera to the kind of work the photographer is about to do. One should bear in mind that the most expensive camera is not necessarily the most suitable camera for the work one wants to do.

Choosing a camera nowadays is not simple in the light of the wide choice the market offers. Nor does the current trend of going over to digital photography makes the choice any easier. In the past the difference between camera bodies of the major producers was much smaller; most of the important attributes were more or less the same, and differences were marginal. The day the digital sensor entered the game, however, big gaps were born between cameras, and with them more parameters which influence the photographer's choice of his camera. Considerations such as the size of the sensor, the number of pixels, noise, crop factor etc, certainly make the choice more difficult, especially in the light of the fast pace of technological changes.

BEFORE YOU CHECK THE CAMERA'S ATTRIBUTES CHECK YOUR OWN…

A "perfect camera" exists only in legends, maybe also in science fiction movies. It is therefore advisable to choose a camera that will fit our specific needs like a glove to our hand. Once in a while I come across people who chose to buy as their first camera the most expensive, sophisticated type. When I look at their carrying on in the street they remind me of a four-year- old child trying to fly an F-16 fighter plane. What did the poor guy want? All he wanted was to fly a nice kite. Unfortunately for him, a friend he consulted advised him to read first a kite review on the net…

The endless review sites manage to spin our heads, and confuse us more and more as we strive to reach a sensible decision. In the end one forgets that behind that state-of–the- art camera which looks like a little NASA spaceship full of buttons, like a three-storied organ, with an operation book which indeed resembles that of a real spaceship, there is only a man (no astrophysicist piano player). And this man is not able to enjoy even 10% of the functions offered by his "beloved chosen".  After he checked with a scientific microscope, so to speak, every photograph taken with that camera and published he decided to buy it, feeling sure that he would get the same "quality" he perceived in the pictures. But as soon as he has taken the pictures, there comes the disappointment: he cannot understand why he fails where photographers with much simpler equipment succeed. Some time later he falls again into the same pit having been convinced by marketing agents that the next camera will certainly, but certainly, do for him the job he so desires.

POSSIBLE CHOICES OF CAMERA FOR THE STREET PHOTOGRAPHER

 

SLR cameras

 

 

These are the most popular cameras, preferred by photographers who want cameras that contain most functions offered by current technology. The main characteristics favored by the majority of photographers are: the size of the sensor, the number of pixels, maximum sensitivity with minimum noise, the number of focus points and the number of shots per second the camera is able to deliver.

This camera type is considered a work-horse that is able to produce an enormous number of photos in a very short time. It is equipped with advanced and precise systems of light measurement and focusing. With this goes also an impressive assortment of exchangeable lenses of all angles and qualities. And to top it all we also get quite a number of possible attachable accessories. This is indeed an impressive machine. But, alas, those who are impressed by it are mainly beautiful girls and beginning amateurs. The main disadvantages of this type of camera are easily felt after several hours of hard work: the camera is rather heavy, its click is noisy, and its shutter and mirror mechanisms cause vibrations which badly effect sharpness, mainly while working in low-light conditions. Out in the street this type of large and heavy camera stands out and is difficult to camouflage. People, consequently, tend to feel threatened by it. And last, but not least a complete system of camera body, several lenses and some additional accessories tend to be rather expensive comparing to other types of camera.

 A photographer who will not learn to take advantage of its pros will meet mainly with its cons and eventually will give up. The great challenge here is to turn a disadvantage into an advantage: it is well known that street photography is mainly about penetrating a subject's private space in a quiet, quick and furtive way i.e. without being seen, heard or noticed. Well, it is almost impossible to hide such a heavy, noisy camera from a subject's eye. He/she will probably notice you from a distance and regard you as a threatening, unwelcomed quest. From that moment their eyes will follow you with nervous suspicion. No doubt that such a bulky camera puts a limit on the street photographer's freedom of movement and exposes him/her to the danger of suspicious and nervous, may be even hostile, subjects. This may render his artistic efforts futile before he even got started.

The best solution for street photographers who choose to work with SLR digital camera is adapting their approach to their prospective subjects. Work with this type of camera will obliges them to work directly with the people they are interested in, meaning that they will have to look for direct contact, even friction, with their subjects, using all their senses in the sharpest, most intelligent way. Personal charm and character have a key function in this approach. A prompt analysis of situations and the ability to respond suitably are highly important. Familiarity with the area and its people are equally important. The thing is not just to know how to het yourself out of a bad situation, but rather to know how to get into it successfully.

Conclusion: Not all that is good for the press, nature, or sports photographer is necessarily good for the street photographer. One advantage of working with an LSR camera, despite all its disadvantages is that in the course of time it will make you a better person and photographer.

 

RANGEFINDER CAMERAS

 

 

This is one of the veteran cameras which is most highly regarded among well known street photographers, as well as aficionados. This was true in the past; it is so in the present and is probably going to remain true in the future. The moment you hold a rangefinder in the palm of your hand you will realize that somebody truly thought seriously of designing a camera that will fit your hand like a glove. All advanced digital technologies notwithstanding, most types of rangefinder cameras are still being produced and marketed for film photography. A photographer who has gone over from SLR, digital, to rangefinder photography will soon experience some difficulties working with his/her new camera. This is a different school altogether, entailing different work habits, and it takes getting used to. As a matter of fact this is apparently the most difficult system of all the 35 mm cameras available on the current market. However, having learnt to use this camera and gotten used to it, it is easier to use than all the others. Its operation is, in most cases, mechanical, and manual: diaphragm, shutter speed and focus are adjusted by hand, and separately from one another. Certainly a camera that will teach you to think in a different manner!!

The camera's design and, the method of working with it is quite different from that of the digital SLR camera. I shall not go into technical detail here; I will mainly dwell on its qualities as compared to other cameras.

The rangefinder's main advantages in comparison to SLR digital cameras are: It is small, easy to hold and to hide, and thus it does not attract attention. Its operation is quiet and its shutter mechanism does not cause vibrations (there is no moving mirror). Its operation is simple and efficient, it is intuitive, there are no superfluous buttons, only those necessary. This type of camera also prides itself on a wide range of small, light, exchangeable lenses of the highest optical quality. Its mechanism is of the highest durability and it is protected within a strong, resistant casing.

The main ( and few) disadvantages of the rangefinder are mainly in its focusing system: it is not done through the lens as is the case in the SLR, and as a result there is always a slight deviation that should be corrected.  In cameras of this type each lens of a certain focal length has a specific frame suitable for it inside the eye piece. However the number of these frames is limited (and different in the different makes). If you want to use a lens for which there is no special frame-lines you have to buy and use an outside eye-piece (or viewer) which will show you the outside boundaries of the picture you are taking. For instance, if the maximum frame-lines you have in your camera are for a 28mm wide-angle lens, and you want to use a lens of a wider angle you will have to use an external eye-piece suitable for that lens's angle. It is inserted in the camera's hot shoe.

Another point relating to rangefinder cameras is that all of them use prime lenses only, i.e. each lens has a fixed focal-length, the maximum being usually 135mm. There are no zooms in this type of camera.

Conclusion: choosing to go over from digital to rangefinder cameras is a serious challenge to any photographer of whatever rank. The greatest advantage of this type of camera is in that it is concerned only with what is necessary. It thus leaves the photographer free with more time and space for the essential creation process.

 

P&S CAMERAS

 

 

Until recently compact cameras were not taken seriously by professional photographers. Today, however, almost any self respecting photographer will take care to include in his arsenal a little camera of quality which may be able to put to shame with its abilities not a few of its larger sisters. Usually they are still used as backup cameras, but technological trends indicate that the gap between reflex and compact cameras are rapidly narrowing, and that it is quite likely that soon behind any small camera in the street we will find a great photographer hiding.

To what does a street photographer aspire to more than to enter discreetly another person's private space, take photographs and go out without being noticed? How easy it is to wander around in the street without that feeling that, with your bulky camera, you are regarded as a threatening presence by the street's people. Even if you are caught taking a photograph (with a little compact camera) you will easily be forgiven, as no more than "just a casual tourist".

There is no need to dwell on the advantages of the compact camera; and the list of its disadvantages is shrinking by the minute. What remains to us is to give a huge credit to the producers of this little princess which is fast developing the abilities of a big queen, and who seems to be going to take over the photography market soon and in a  big way.

BEHIND THE SCENES OF STREET PHOTOGRAPHY/ PART C.

The previous chapters were an introduction to going out in the street. We have chosen the most suitable equipment, and now we are ready for the real thing: learning the rules of the street and getting to know its inhabitants. Now we shall discuss briefly the what rules of behavior, and habits of work we should adopt to serve us as a basis for a safe, well focused, efficient and time and energy-saving manner of work.

Every street photographer's aspiration is to feel at home in the street, to be able to walk freely in the city's alleyways, streets and squares, and to have as much as possible "photographic control" over the goings on that unfold before his/her eyes. The means of achieving this goal are many, and they require the investment of time and effort. As long as we feel strangers in the street we have not achieved this goal. The best way to start is to frequent one location for a long time. Keep coming again and again to the same place. Our work space is not expected to spread over a large area, provided there is an intensive human presence in the location we have chosen. Persistence in the same area is the best way to come to know in depth our "hunting ground". Perseverance in observing, studying and coming in close contact with people is the best way to get to know our "prey".

GETTING TO THE PLACE,

Whether we arrive in the place walking or with a vehicle, our head is probably busy with thoughts about this or that. So the best way to start is to sit down for a while and just watch. This is a kind of rest period, and head-cleaning, in preparation for the coming work. Sitting down is best as it allows you to become less conspicuous, to harmonize with the street's rhythm, comprehend the place's nature, and absorb its atmosphere and pace.  And now, our senses sharpened, and synchronized with the street we may start to move.

PERIPHERAL SURVEY

Having decided on the area we will work in, we survey it walking rapidly around and inside it, looking for potentially promising objects. It is advisable to note, and remember locations with interesting people, and symbols, that may serve later as base elements for promising pictures.

Let us stress that during these preliminary activities it is better to keep your camera invisible; keeping it on you may attract attention, especially as you are walking rapidly.

In order to better understand the street's language and its behavior norms we have to do several things:

A. Studying the Environment (types of inhabitants, history, typical problems etc.) It is highly important to know well all aspects of the environment. This is the foundation making for contacts, forming relationships, and gathering information about the area that we shall presently need.

B. Observation and study of peoples' behavioral patterns,-

This activity is very important: we observe and study situations unfold before our eyes, trying to identify and remember behavior patterns and key personalities, for future use. It is advisable to do this sitting down for a long while in some central location, arranging various compositions and photographing them in our imagination. The more we observe interactions between people, the more we will be able to anticipate them, and react to them in time when we really take pictures.

C. Classifying, Cataloguing, and burning in memory.-

Having observed people in a selected area for a prolonged period of time, we will be able to classify and catalogue them into various population groups: people who work in the street (shop keepers, peddlers, chauffer, messengers etc.), people who come and go, and people who live in the street (homeless people), tourists, animals and so forth. We have to identify them, get to know them, and try to communicate with them whenever possible.

D. Familiarity with the street and its inhabitants.-

It is important to gain deep and detailed familiarity with the physical aspects of the place we have chosen to work in: streets, alleys, courtyards, stairwells, shops and people who work in them, toilets, food sources, ways of entrances, and getaways.

E. Striking up relationships.-

Of the utmost importance are friendly relationships you may manage to strike with those people you have identified as influential in central key points of the area. These "key persons" will be the only ones who will know your purpose and targets in the area, and will cooperate with you. Keeping a warm relationship with them is very important; they will watch over you and protect you. They will, furthermore, be your best source of information on the area.

Having gone out, arrived, surveyed, and got to know all you can, we are now standing in the street armed with a camera. What, then, are we looking for now?

COMBINATIONS AND LINKAGES ON VARIOUS LEVELS

A. combinations between man and symbols,

B. Interactions between man and man,

C. combinations between animals and symbols,

D. Contrasts,

E. Analogies,

What street photographers mostly look for is some kind of connection between symbols and people i.e. between some symbol with a known meaning in the culture where they operate, and a man (or sometime an animal) that "fits in", combines with the symbol. A successful combination will result in a new outlook on some known aspect of reality, a fresh, surprising angle of view, which will stir thoughts and feelings, and add value to the picture beyond just being a casual record of reality. In hitting upon these combinations the photographer's patience is the main player, but imagination, experience, and deep knowledge of human behavior are also necessary elements in his "tool-kit".

Having realized that there is some logical purpose in this kind of wandering in the streets, let us now discuss briefly those moments in which we have to deal face to face with people, in order to get the desired photograph.

What is then the meaning of making contact with a subject, and what influence this may have on the photograph?

1. COPING WITH A SUBJECT.

a. Correct approach wins people over: In many cases considerable closeness to the subject is required, and this may result with tension between the subject and photographer. In such cases it is up to the photographer to ease the tension, recognizing and taking into consideration, the subject's mentality, state of mind, facial expressions, and body language, and the image he, the photographer, with his tools, projects to the subject. All this he has to do within a few seconds. If successful, he will be allowed to operate freely in the subject's "private space".

b. Incorrect approach may result in failure. The moment we decide to "invade" a person's private space, there is a real prospect for failure. At times, despite all our efforts to project good feelings we fail. The cause may be small, simple things: a wrong look, a wrong word, unpleasant tone of voice, an unconvincing smile etc. In such cases the photograph may be lost, and an attempt to go on may end unpleasantly for both parties.

c. Fear and timidity. - Fear, timidity and expressions of lack of self confidence on the photographer's part are promptly noticed by the person/s to be photographed, and this is likely to cause failure in any attempt to photograph people. It should be born in mind that there is nothing evil or illegal in taking photographs of people in public places. You should strive to overcome these expressions of lack of self confidence as soon as possible. The process of becoming aware and understanding one's problem may take time and effort, but with the passage of time and growing experience fear and timidity will leave you and disappear in a natural way.

d. Should we ask permission? – Asking for permission to photograph has its pros and cons, various camouflage and diversion methods may enable us to dispense with this, and thus be rewarded with captures of authentic situations without outside interference. In case you ask for permission and get it, it is not recommended to start photographing immediately. It is rather better to wait for a while, letting the subject get used to your presence, and feel at ease with you, and only then start taking photographs. In any case, experience teaches us that it is easier for people to forgive an unpermitted photograph, than to give their permission.

 

e. The photographer's character = the photograph's character.- In any kind of confrontation with a subject, or a situation, the character of the photographer and his/her experience will determine photograph's success. The resulting photo will mirror the photographer's character straight to the viewer. 

DWELLERS OF THE MAGIC CAR

I came across her, the magic car, one afternoon, on the fringe of Nahalat Binyamin, during the last days of the great cold. She was hidden in a small side street; amidst old dilapidated houses with decrepit, peeling walls…an old wreck of a car, rusty, dirty, her windows shattered, covered with old sheets and blankets to keep the cold out. She was standing in a small parking lot in the back yard of an old, abandoned apartment house, surrounded by waste- collection containers, old food cans with rotting food remains, plastic bottles and human and animal excretions. There, inside that car, I saw the three of them: Boris (the blind), elderly Ghenadi and Sasha….

 

 

Days later I learnt that Ghenadi was the owner of that car, and that it was his home. He paid 500. – Shekels to the previous owner for this ownership right. Apparently, there are no free gifts even for the homeless. In this global world everything is a business and has to comply with the rules of supply and demand…

Since then I have been going back there almost daily - to talk with them, document their lives with my camera, add one word to another, one fact to the next in order to reconstruct the story of these men and their "magical palace".

This is a harsh story, complex and not easy to stomach. But it deserves our attention: this is how people live on the fringes of our society, educated, intelligent people, not criminal, not bad, just unfortunate people, survivors of bad fortunes, of modern life. They deserve our attention, and even a measure of respect: the distance between them and us is not as big as we tend to think.

 

 

Boris is blind. Now he is completely helpless. He can do nothing without help, but he was not always like this. He spent ten years of his life working here. Only his bad fortune brought him to where he is now. Ghenadi, about 70, formerly an engineer and a high ranking industrial manager in Russia, is now homeless. He takes care of Boris with devotion. Sasha lives with them, but during my association with them he disappeared. This is how they are: if they can, they come and go. There are others who come to visit this strange "palace", homeless men and women. They come to talk, beg for a cigarette, to sleep in the car for a couple of hours. Some are

welcomed, others are turned firmly away by Ghenadi. He probably knows why. Boris is treated with infinite devotion by Ghenadi; he goes out every day to work (mostly to beg), and brings food, drinks and cigarettes. Every now and then he comes with a change of clothes for Boris, and he helps him in everything; he guides him, keeps him company, and protects him from others to the best of his ability.

 

 

Boris is 54 or 55. His story sounds like a modern version of Job, almost. About ten years ago he arrived in Israel from Kirghizstan; he wanted to work, save some money and return to his country. Until he lost his sight he worked hard, diligently, and honestly, saving one penny to another, sending some money to his family whenever he could. The list of jobs he undertook is long and varied. He did not bother about questions of honour or hardness of the jobs he undertook. He just wanted to work, persistent, determined and humble. How did he end up in that shelter of the homeless?

 

 

Here is a summary of his "occupational life" as he told me:

During his first three years here he worked for a car-wash company. He earned well, enough to rent a small room to live in. But good things, so it seems, don't persist forever: the company closed down, and Boris found himself without work. After a month or so he found work in a Tel Aviv restaurant, and some time later his fortune smiled on him: one of the regulars of the restaurant suggested that he come to work for him. So Boris found himself working at a fruit and vegetable shop in the open market of Petah Tikva. At first he worked as a simple hand, carrying merchandise and arranging it, but later he was promoted to the role of cashier. But here  again, some time later, his boss left on a leave, and the relative who took charge of the business did not like the status Boris had earned for himself and started picking on him and making his life miserable. In the end he could not stand it anymore and left back to Tel Aviv. There he worked for several months for an independent contractor as a street sweeper, and later on he was sent by a manpower company to work for a Yeshiva in Jerusalem, where he did kitchen and cleaning jobs. From there he was sent to do similar work in another yeshiva, this time in Modi'in. He did not stay there for long, because of wage problems.

By then seven or eight years had gone by, and Boris decided to go back home. He made all the arrangements, put his papers in order, bought a ticket for a flight to Kirghizstan, and took out all his savings (6000.-$) out of the bank. He believed that in a few days he would be back in his country and all his plans for which he had worked so hard would be realized. But alas, at that moment his luck failed him again. Perhaps the goddesses of fortune thought that the life of that innocent and hard working man had been too easy...On the last day of his stay in Israel- or so he thought-he went for the last time to visit the sea-shore carrying all his possessions with him. While there his bag, with all his papers, passport, flight ticket and savings, 6000.-$ in cash, were stolen!!!...the fruit of eight years of hard labour was lost!!! All his dreams evaporated in the flame of a harsh, unexpected new reality…

 

 

Boris remained with, literally, no penny to his name, no documents and no way to contact his family. Three of his sisters and a 28 year old son live and work in Germany. But his address and telephone book was gone and he could not remember their addresses or telephone numbers. He was thus cut off from his family.

At loss Boris turned to the immigration police, hoping they might assist him in getting back to his country. He was held in jail for about two months and then was freed. He was given a form which he was instructed to fill, and advised to contact members of his family as well as his country's authorities in order to obtain the documentation required to verify his nationality. Having completed all this, he was to return to jail to present the required documentation and arrange for his exit from the country. He was given a one way ticket to Tel Aviv and this was all.

Now what was he to do? He could not turn to his country's authority: Kirghizstan has no diplomatic representation in Israel. How was he to complete all these assignments having neither money nor any connections here?

He thus reached Tel Aviv penniless, workless and without a place to pass the night in. He had to find some work as soon as possible and save some money. Otherwise how could he proceed to sort out his affairs?

 

 

Wandering helpless, hungry and penniless Boris met an acquaintance from a previous job and that person introduced him to an elderly lady who needed general repairs and renovation works in her apartment.  When he completed the job and the woman wanted to pay him, Boris suggested that instead she could let him stay temporarily in her house in return for odd jobs. She agreed, and Boris stayed with her for two years doing all cleaning, laundering, ironing, cooking and repair jobs for her.

Why he failed to write to his family in Kirghizstan? Why he did not make an effort to locate his sisters and son in Germany? Why he did not make an effort to find a way to get travel papers as he was instructed by the migration authorities? To all these questions I have no answer. Some of the answers are obvious, about others I can only speculate. He lost The addresses of his family members in Germany with the rest of his documents. He did remember the address of his sister in Kirghizstan, but what could she do for him?  He had been sending money to her, how could she now help him? Perhaps he was ashamed to tell her that now he had become helpless and in need of help? He forgot in his pocket the form he was given to fill when he laundered his cloths. Anyway, how could he complete these forms with his very limited Hebrew? Contacts with the authorities intimidate him; he is not used to dealing with them. Boris is a gentle and timid man. His country has no delegation here, where could he turn for advice and help? At a loss as to what to do he probably just drifted, staying on with his land-lady, until the next blow fell.

 

 

About two month before I met him, and after he had stayed some two years with the lady Boris's eyes started to fail; he was losing his sight rapidly. Within a month, or a month and a half, he became almost completely blind. Now he had become a burden to his land lady, and she turned him out. Apparently, she did not offer help in examining and treating his eyes. Perhaps she could not, being elderly and of rather modest means. Boris did not say anything. When helped he thanks you in a quiet voice, his blind eyes shining, but he makes no recriminations; about hardships, insults, injustices and humiliations he tends to keep silent.

Thus wandering, blind, on the street Boris met Ghenadi. He had never met him before. Homeless, penniless, but not merciless, Ghenadi invited Boris to share with him all the little he had, and ever since they had been together in the old car, Ghenadi's "palace".

 

 

Boris shut himself in the car. He now hardly goes out. He relieves himself a few steps from the car, and even to do this he needs Ghenadi to guide him. The stench is terrible, but what can he do? Ghenadi begs in the streets and takes odd jobs in the market and thus he is able to bring food, drinks and cigarettes. Good people, some of them homeless themselves, also bring food sometimes. The municipality's authority for street dwellers knows of the case. Now and then somebody from the authority pops up bringing blankets, sometimes food. Once a doctor came- Boris does not know who called him- and said that only a simple operation is required to restore his sight. But the doctor went and Boris stayed where he was. He has no money, and, being blind, no way of earning it. Nor does he have medical insurance. Apart from Ghenadi he knows nobody who may be able to advise and help him.

Here I tried to step in and help. I increased the frequency of my visits to them in an effort to ease their life, even if for little, in the car that never goes anywhere. I spoke on the phone with the municipal authority for street dwellers. They know of the "case". But as Boris is not an Israeli citizen, the authority cannot open a file for him and assign him a social worker.

 

 

I brought them a small transistor radio, and this greatly cheered them up. Now they never stop listening. For Boris the radio is his only pipeline to life outside.

I obtained a simple blind- man stick so that he may get out of the car and walk a little. He comes out of the car with my or Ghenadi's help and tries to take a few steps, but  his legs are heavy and he moves with difficulty as he stays all the time in the car in the same cramped position. He walks all hunched up as if afraid of a sudden blow to strike unexpectedly. He condition is deteriorating.

 ophthalmologic private clinics) in an attempt to obtain an eye specialist who would be willing to examine Boris's eyes, pro bono, and give us a reliable diagnosis as well as an estimate of the cost of an operation.

(He promised to look into the matter and return to me, but I have not heard from him ever since then).

I brought Boris a pen and paper so he could write to his family. I could not help him write. I had to look for somebody who could. Later, Tatiana (a homeless acquaintance) came and wrote the letter for Boris, and I posted it. Who knows how long it will take it to make this long distance to Kirghizstan? Will the people there reply? Will they be able to help?

 

 

Yesterday when Ghenadi was away, and Boris on his won, somebody came and snatched the transistor. Boris heard laughter, but, obviously, he could not see who it was. How low can people stoop?!

The greatest fear of homeless people like Boris and Ghenadi are the drug addicts. With these, although they too are homeless, they don't want to have anything to do. Drug addicts will stop at nothing. They fear them and do their best to avoid them.

 

 

But now came at last a bit of good fortune; I have discovered the "Organization of Doctors for Human Rights", a voluntary organization which attempts to furnish medical care to all those who do not qualify for it in the eyes of the authorities, Palestinians, people without documents, work migrants, homeless people. We called them and they are ready to arrange for an examination by a specialist who does voluntary work for the organization.

A date has been set for the examination in "the Doctors' House" in Tel Aviv.

 

 

I gave Ghenadi some money so that he can take Boris to a homeless shelter in Jaffa, where they can wash and have a change of cloth in preparation for the visit to the doctor.

I came to visit them at noontime and found Boris alone, half naked, shivering and frightened. At night they had "visitors" again; they forcibly undressed Boris and Ghenadi, searched them and the car and robbed them of the little money I had given them.. These were probably drug addicts.

 

 

That same evening we went to the doctor's clinic, and this time there was some good news to be happy about. Dr Rosenblatt said that the reason for Boris's blindness is a "mature cataract". She said he would have to have another examination, and then an operation to remove the cataract. If there are no other problems with his eyes he will be able to regain full function of his eyes and be return to normal life. She was prepared to approach the management of the hospital and discuss with them the possibility of a pro bono operation for Boris. At the Organization of Doctors for Human Rights they are also trying to look for other possibilities, just in case.

Now another blow: The shop owners of the neighborhood –so one of them told me-got together and decided to remove the "shelter car" from the backyard where it stood. This is not the first time; it is they who had shattered the car's windows. Where would they take the car? To the street and from there it would be taken to the municipal garbage dump, he said. And what about the people who live there? This is their problem; the filth and stench are intolerable, he said, and it drives their customers away. This is not completely true; the car is in a back yard, customers are never disturbed by that shelter. It is only the shop owners who are inconvenienced by these conditions when they park their cars and take them out. It is a fact that the power is in their hands…but what will happen now? What will happen to Boris and Ghenadi...?

 

 

Yesterday at noontime I went to see them: the car was gone. Boris, Ghenadi and some friends were sitting on the pavement. The shop owners had called for a municipal inspector, a small crane was brought and the magical car, the "palace" of the homeless was no more. Their wretched shelter, home, life-centre was destroyed in one brief thrust. The dwellers were able to take one old blanket each and this was the end.

 

It was not however the end of the story of Boris and Ghenadi.

As Boris and Ghenadi were sitting in the street I was busy all afternoon and far into the evening making phone calls, trying to find some solution for them. The Doctors for Human rights could not help this time. They have no lodging arrangements. I tried the municipal authority, but the only solution they offered were "the shelters for the homeless", "gagonim" (small roofs). Many of those who stay in those shelters, however, are drug addicts, and Boris and Ghenadi would not hear of staying there. They would rather sleep in the street. To stay in one of those shelters is dangerous-they say- especially if you are old and weak, or blind. All other calls turned out equally futile.

 

 

 

But maybe, after all, God helps the poor and the meek. As a last resort I called a Christian organization which operates a one-weekly "soup kitchen". They offer quite decent free lunches, as well as medical examination by a G.P. and some basic medical help. I asked for their help and after a couple of hours of tense waiting the man in charge of the place, Marilyn, came back with a solution…. They found an apartment in Jaffa the inhabitants of which are all street dwellers who were undergoing rehabilitation processes and who were ready to receive Boris and Ghenadi and take care of them without a time limit and for free.

 

 

It was already dark when Merlin, the man in charge of the poor-kitchen came, called a cab and took Boris, Ghenadi and me to that apartment.  It was already around 9.00 when we arrived there. Yuri opened the door and invited us in. The apartment was spacey, rather modest, but at least a place with the smell of home. It was well lit, in the corner was television set with a Russian film on. One by on the dwellers entered and exchanged greetings and warm hugs with Merlin. They seemed to know him well and like him. Everybody was smiling. I looked for a reaction from Boris and Ghenadi. It seemed they were still in a state of choc. They needed time to digest what had happened; just a few hours ago they had been thrown out of their "home". They were, apparently, still confused. They looked a bit shy, perhaps intimidated…

 

 

Yuri, the man in charge of the apartment, welcomed Boris and Ghenadi and announced," This evening you will have a hot shower, a change of cloth and an evening meal. You will sleep here on clean sheets.

"I will take my shower in the morning" said Ghenadi "I always shower in the morning". Immediately he got a lecture from Yuri. Obviously the urge to enjoy a good hot shower fades after living on the street for a while. One cannot be bothered anymore; to scrub off a kilo of sticky dirt is rather tiring work. But Yuri would not hear of it, and as always good old Ghenadi got up and led Boris to the bathroom, he helped him undress and washed him like a good nurse.

When they returned clean and relaxed and sat down Ghenadi asked for a cigarette, but, there again Yuri made it clear to the newcomers that here there were some house rules: "Here nobody smokes, drinks alcohol or uses obscene language. You are now joining a rehabilitation programme, he asserted. All the others here have come to this apartment in a similar state; maybe even worse, all of them are in some stage of weaning from one bad habit or another. All the people you see here have reached an advanced stage: they lead independent life, they work, participate in social activities and they study. This apartment serves as an anchor for them, a base where they could always return, without a time limit. "At first" He added "Ghenadi and Boris will be taken to a private house in the North, there to begin the first stage of rehabilitation. It takes about 9 months. The house is located in a quiet secluded countryside area, and this is what you need now "he concluded.

When I explained to Yuri that Boris needed to be available on a short notice for the examination at the hospital, he reassured me: "There will be no problem; we will bring him to Tel Aviv whenever he is needed".

It was around eleven when I left. "Today a chapter in their lives has closed" I thought. I left feeling comfortable. They are in good hands. May they never go back to live in the street. It was the end of a chapter for me too. But the story has not ended; there are still two tasks ahead: getting somehow financing for Boris's operation and putting his papers in order so that he will be able to go back to his country.

Tomorrow I will get in touch with Dr. Rosenblatt and see whether there is any news, I thought.

 

 

"We have an operation" announced Dr.Rosenblatt" on the phone." I have taken it up with the hospital's Director and he authorized a pro bono operation". Blessed be those who still have a heart and conscience in their chests. Not all is bad after all.

Boris will have to be at the hospital on Sunday for preparatory tests. A date had already been set for the operation, Wednesday 19.3. 

On Saturday Boris was brought to the apartment in Jaffa. I went to visit him. He was clean and well dressed. His beard had been shaved. He seemed to be feeling well, but worried; he did not smile and seemed absentminded. "Everything is well" he said in a quiet voice in reply to my question "Ghenadi is well too". But Boris never complains. "Only living without cigarettes is tough" he said smiling weakly. "I will be O.K.". The apartment's inhabitants were friendly and seemed to be taking good care of him.

On Sunday we went to the hospital for the examination. We were accompanied by Leonid; he is one of the men living in the apartment. In the past he used to work as old and handicapped peoples' help. He came with us to help and translate from and to Russian. The reception at the hospital was heart-warming. The entire staff was full of good will, willing and able to overcome all bureaucratic hurdles. Boris was greeted with warmth and good intentions. Blessed be all of them.

 

 

The good news is that the blindness is caused by a cataract. There seems to be no internal damage. Boris is going to be able to see. Tomorrow is the operation!!! Maybe the story of the "shelter car" will have a happy ending…

 

 

Wednesday early morning, the sky is still grey; the road is almost completely empty, only a few early risers walk, bent against the cold, half asleep are to be seen .Boris should be at the hospital by 7.30. He will be the first to be operated on. I reached the apartment in Jaffa by 6.45. The apartment was dark. Most of the men were still asleep. We looked for Boris, but he was not there, disappeared. Nobody knew were he was. "Has something happened? Did he go out on his own and got lost? Worried, I woke up Yuri and we questioned all the men in the apartment. Then we were relieved. It transpired that Leonide and the driver had taken Boris in the car and gone to the hospital in order to make sure they are on time. They did not know that they were supposed to wait for me. I hurried after them.

The hospital was dark, a bit gloomy. At the entrance I noticed several colourful figures: an old ugly witch, a beautiful girl, a snow-white, a little Red Riding Hood; some of the staff and some of the children hospitalized for treatment had put on masks for the Purim Holiday, a holiday of joy. Will Boris have a reason to feel joyful today? I hurry to the eye department. Boris is already in the operation room. Leonid had taken care of all the arrangements. Dr. Rosenblatt smiles "Sit down, relax, in about 45 minutes Boris will be out" she says encouragingly.

The corridor near the operation room is gloomy. It is bare and functional. No ornaments here to relieve the eye. "Entrance for Staff Only" says the sign on the door. What is happening behind these walls? Is everything going to be alright? Is Boris going to be able to see as before? Will he be able to see right away, or only after a few days? weeks? Questions and apprehensions crowd my mind. I get up and go to the cafeteria to have a glass of coffee.

 

 

Half an hour dragged by. We got back to wait near the operation room. And then, suddenly the door opened, and there was Boris in a wheelchair. He was dressed in hospital green, a cap covering his hair, a transparent plastic protection cover over his right eye and a big smile on his face. Beside him stood Dr.Rosenbaltt, her face glowing. The miracles she brings about have not become a matter of course for her; her happiness is making her face glow." Is he able to see?" I ask." of course! "She says smiling." "Do you recognize him" she asked Boris "Yes, this is Felix". It is more than two months that he had known me, but this was the first time he saw me. He knew my voice, though. The atmosphere in the room was reminiscent of that of a delivery room after a baby is born. In fact a new man has been born today. There is no profession better than this" Says Dr. Rosenblatt with a big smile "there is no greater happiness than restoring sight to a blind person" "Perhaps the happiness of the person who got back his sight is even greater" I think to myself.

"Boris had only his right eye operated on" the Doctor explained " This is always the practice. After a time, when the eye has healed and is fully operational, the other will be operated." "When? We will have to wait and see".

 

 

Boris was happy, but he seemed bit overwhelmed, confused. "Do you want to eat", we asked "No I am O.K" he said, and then changed his mind. We went with him to the department's dining hall. He walked without help but he was a bit shaky. He tended to bump into things and we need to watch over him a little. Asked how well he saw he answered "narmalna", normally. But as usual he played down his difficulties. Later on it was explained to us that at the moment his sight is not yet completely restored. His brain requires a certain period of time to get used to the new situation. Everyday his sight will improve a little until it is fully restored. But even now Boris was eating without help. Every now and then he looked around studying his new environment. Two elderly Yemenite ladies were sitting not far from us. One of them had her second cataract operation not a long ago. Her good looking daughter was with her. They talked and laughed merrily, looked at us and start up a conversation. Boris was interested and smiled quietly.

Later he asked to go back and lie down. He was tired. He needed to wait in the hospital till noontime before he could be sent home. When he passes near a mirror he looked at his image and remarked jokingly "I am looking like and cosmonaut". Sitting on the bed he described to us the experience of starting to see again "It was like an explosion" he said waving his hands to demonstrate.

 

 

At noontime I went again to the Jaffa apartment. Boris came back from the hospital with Leonid. I found him sitting, surrounded by his new friends, watching the television. He had bee instructed not to strain his eye. But the temptation was too great. Tomorrow will go again to the clinic at the hospital to have a check. His friends at the apartment will see that he gets there on time. I will visit him again. In a few days he will return to the house in the North, where he will rejoin the rehabilitation programme. Ghenadi is waiting for him there. I wonder about his meeting with Ghenadi. I wish I could be present there!!!  He will see Ghenadi for the first time in his life, Ghenadi who took him into his "magic car", who cared for him, watched over him, was a friend whose generosity had no bounds. He was for him father, mother and brother, his only family. But all he knew of him was his voice, a voice to light his way in the darkness. What will he think when he sees him? What will pass in his mind?

 

 

Here ends the story. I will keep in touch with Boris and Ghenadi.  Boris will have to undergo another operation on his left eye. Let us hope the hospital authorities are able and willing to see the wonderful and generous deed they have begun through to it completion. I will do my best to keep in touch with Boris and Ghenadi and help them until Boris is able to go back home well and whole, and Ghenadi is perhaps able to go back to a better life than life on the street.

Before we conclude here is one further piece of information that I have heard from Boris accidentally. Boris is a Jew, a fact that he failed to mention to me, and that neither I nor the hospital's authorities ever bothered to inquire about. During a conversation after the operation he mentioned casually to me that his mother was a piano teacher, and a Jew. Why he had not registered as a Jew with the immigration authorities I have no idea. Maybe he will tell me sometime later on. There are a lot of things I do not know about him, and even more to learn about Ghenadi and his life's story. How many stories hide behind the dirty and tattered appearances of people like them whom we pass lying in the streets, seeing and not seeing them, trying to avoid them, being intimidated by their strangeness and their dirt…

 

 

What can we learn from all that? Maybe that there are good people among us...Maybe that among those who have lost all, their homes, their livelihood, their families, generosity and the will to help still exist? And maybe, as we wrote in the beginning, that they are just people like us. Many of them have interesting, may be even fascinating life stories, and the difference between us," normal" people and them is smaller than we would like to think. Maybe that helping them is possible, and that they are worth the effort? 

THE STREET IN THE EYES OF A STREET PHOTOGRAPHER

It all began many years ago, in the dense rain-forests somewhere in South America. A small, elderly spider opened his eyes in the dark. A battle-cry echoed in his little head. It was a basic, ancient insatiable instinct. When the stomach growls nothing will stop it. It is a basic instinct, not a movie. For him it is the nature ofthings- he strikes out to hunt!

 

 

He crawled quietly out of his hiding-place, on his way to the endless hunting grounds, in the direction of targets he had marked when he was going here and there…never lazy, he had set small net-traps in strategic places: "by the time I am back the 'frige' will have filled up" he thought "and a bit to bite on the road never did one any harm". He moved quietly, his steps light, all his senses alert: he will strike out from his hiding place, paralyze his prey and disappear leaving no trace.
"The place where no human foot has been set".This is how his birth-place was called, but now, alas, the worst had happened: a human foot was planted in front of his eyes! Scanning quickly the situation he raised his head: "there is no such animal" he thought "air force will be no good here.

This battle will have to be decided face- to -face", and he stuck his teeth deep into the intruder's flesh. But alas, before he could complete his act he was suddenly struck by a heavy metal body bearing the strange letters "made in j…"
And this was the end of our little brave hero. Nevertheless, before he returned his soul to his maker he left his poisonous teeth, inserted deeply in that leg, inheritance to an amateur photographer from a small country, far away from there.

 

 

Time passed, and our friend the photographer returned to the big city in his small country.
The noisy streets suddenly seemed different to him. Everything looked and sounded different. Strange changes where taking place in his body: his eye- sight is now sharp. No longer does he bump into street poles that he fails to notice, as before. When he walks in the street he sees far and wide. His hearing, too, has improved wondrously: all of a sudden he hears the voices of the street, he understands its language.
He goes out, camera in hand, his finger on the trigger- he sets out on a hunt, to photograph!
Moving in the streets, he examines targets he had marked before, on his way here and there…he moves quietly, his steps light, his senses alert. He will strike out from his hiding place, freeze his prey and leave no trace. His "public eye" is always opened; he sees everything, good and bad. 

The street is the photographer's friend, but also his enemy. So are the street's inhabitants with their varying lots and differing modes of life. They are unpredictable, random, and spontaneous. They are sensitive and surprising, decorous and dangerous. With all of them the photographer has to learn to communicate, to understand their language, and recognize their signals and hints.
This is not slang; it is a secret sign- language, a set of codes for behavior in society, the society of the street.

 


The language of the street consists of signs, symbols, geometrical shapes; its signs are written on notice- boards, on posters, you will find them on sidewalks, on bus stations, street poles, in the cloths people wear, on public waste -containers, on buses. The street speaks through people's facial expressions, through their body–language, in the expressions of their physical and mental states, through expressions of relations among people, and between them and others. You will find the 'words' of the street in shoes, in hair-styles, in cloths and in fashion…every single detail you notice may be significant, meaningful.

Understanding the street's language is not enough. The street-photographer's main occupation is a constant, unceasing, and stubborn search for a connecting line between the various signs of the street, so as to be able to translate these signs, arrange them visually for those who will look at his pictures. It is this constant search that nourishes the never ceasing tension in the street-photographer's work; it is what "fuels" him, spurs him on, what imbues his work with deep meaning. This is the core of his dedication for life as a photographer.

What the street- photographer seeks in particular are connections between symbols and human beings. He strives to establish a link between some symbol, some icon, well known to all in his culture, and between a person (or persons, sometimes animals) who will combine with the symbol. A successful combination will result in a new angle of view, often surprising and inspiring, stirring thought and feelings, on some known reality. It will thus add value to the picture beyond merely recording reality at a certain fleeting moment. In the search for such a special, inspiring combination the main 'player' is the street-photographer's patience, though imagination, experience, and good understanding of human behavior are also necessary tools in his professional kit.

 

 

Relations between people consist of diverse and numerous elements and these always maintain a certain tension between them. A successful capture, in a picture, of this tension will always touch the feelings of viewers and feed their imagination. We know that in certain cases where there is an emotional and spiritual understanding between two people they may understand each other without need for words, as if they had a telepathic link. In a similar manner, some photographers, who delved deeply in human behavior, and in the nature of their relationships, will develop a kind of 'telepathic' ability which enables them to anticipate the development of human situations, and 'capture' them at the decisive moment.

 

 


We have to remember that people's actions are done, most of the time, in (more or less) regular patterns, common to all humans. Some of these are culture- bound; some others are even independent of culture and ethnicity. Body-language is a much discussed and investigated topic the observations of which bear out the above statements. In similar situations we tend to do more or less the same things, and in the same manner. If, for instance, we look at an average person and observe her (or him) in the street for a certain time, we will see that in ordinary circumstances their behavior will be pretty much the same as that of others. However- and this is what the street- photographer always lays in wait for - if we are patient enough, we will witness the person under our observation do something exceptional, out of the ordinary: something funny, ridiculous, moving, heart touching , stupid, strange, crazy…The street-photographer is helped constantly by his familiarity with human-behavior patterns, but the 'pearls' he is after, towards which he direct his greatest 'hunting energy' , his 'special treasures' are those peculiar, strange, out of the ordinary, crazy moments. It is by the capture of such moments that the street-photographer manages to express his view of the essence ofhumanity as he perceives it.

 

 

We are all aware of the existence of behavior patterns in society, but not everybody is familiar with of the value of these exceptional, deviating situations, or able to identify and anticipate them. The ability to do this, is what enables the good photographer, the "spider of the urban jungle" to capture those special moments which, made up of basic and simple human elements, ignite our imagination, brings to us deep some memory, perhaps a primordial experience shared by all humans, but told by the photographer in his own particular artistic language . The memory and the experience are shared by all, but the "chef" who concocted the "dish", gave it its special flavor, is the street photographer.

 

 

The street photographer is often treated as an eccentric, a "strange bird", sometimes he is looked at with suspicion, even with fear, sometimes he draws out aggression from people. Indeed in the world we live in now he seems sometimes to be endowed with something like supernatural powers: through his photographs he may have far reaching influence on the life of people: An occasional, unintentional capture of a married man cuddling with a blonde beauty in a night-club, an accidental snapshot of a bank robber at work, may serve as evidence in a divorce case, or lead to an arrest, respectively.  An innocent photograph taken at a market place may give raise to suspicions against the photographer, who may be suspected of being an agent of income tax, or health authorities or some other authority. A photographer taking photos of children in public parks may be suspected of pedophilic intentions. These are only a few examples, the list is very long. The reasons for these negative attitudes are many and complex, but it is a fact that they often turn the photographer into a nuisance, even an enemy in the eyes of people.
Nevertheless, the photographer perseveres, not only because he has got "the poison" in his bones, but because as an artist and reporter he fulfills an important function in the life of society (and especially here in Israel, where society is still undergoing many and deep formative changes): to make people, both inside and outside, aware of how we look. The photographer observes, photographs, and shows us how we seen from his particular point of view. What is to be done with this information is not up to the photographer, it depends on us, as individuals and a society to decide what to do.

In my wanderings in the streets of Tel Aviv I chose to show places known to us all from my own particular point of view. I wanted to share with you, in this short piece, my love to the street and my feeling that the street is a 'breeding house' for all manners of emotions, for a great variety of experiences. Life streams, gushes in copious currents in the city's streets, its alleys, in neighborhoods, on all levels of society. We only have to stop for a moment, observe and contemplate, listen to what says the street, to wait patiently, and we are sure to draw out of this rushing river surreal moments, moving sights, sad, and smiling, happy and serious, wise or ridiculous visual stories. To me, the street is not only the space of "urban jungle", the best hunting ground for the spider/photographer; it is also the best show in town.    

THE LIFE OF THE HOMELESS – THE DARK SIDE OF SOCIETY

This story has no beginning nor can its end be seen.  They come to the street for a variety of reasons. Most of us can cope with the hurdles they initially encounter. With a little help we get over the difficulty and go on. But for them help just had not come, and their lives took a turn into that road full, of pits, which often leads to the abyss.

 

 

A whole population lives in the street, a small "people" seek a country: lone wolves, couples, childhood friends, fathers and sons, mothers whose children were taken away by the social authorities and given to be adopted, alcoholics, drug addicts, schizophrenics, refugees from mental institutes, work migrants, refugees from normative society, and people who just prefer to live in the street in order to avoid child and wife payments, or heavy debts they are not able to pay.

 

 

Numerous groups roam the streets from one place to anther, drop anchor for a while and go on to another place. Their numbers are constantly on the increase, and friction is inevitable, sometimes the result is strong friendship, more often- hard violence, sometimes ending with death.
This is the story of simple individuals who have wrapped their past in layers of lies, fables and anecdotes so thick that often they themselves are unable to  tell truth from fiction. The truth they keep buried deep inside in a corner of their heart- a burning memory which cannot be shared with anybody, be it for shame, or for pain too strong to bear. A well made cover story is probably the best shield for those who strive to survive in the street.

 

 

Life rushes at them, hits them wave after wave, and they try to hold onto anything with a semblance of stability ,be it for a brief moment; one moment they make a step forward and  next they go back two. "Every ship struggling in a raging sea wants to cast anchor one in a while" said once to me one of them.
We know much to little about these population of street dwellers who live among us. Saying that nobody is insured against falling into the dark side of society is no mere fable; this is the reality of a growing number of people coming true much too often.

 

 

But what we know of this reality is just the top of the iceberg. A whole form of life exists far from the public eye and from its comprehension: A small people fight for their daily survival, for their right to live…
The relations of these homeless people with the social authorities, on whom they depend for help, are a prolonged and complicated story, often lasting for years. Despite all the love and good will, it too often transpires that there are limits to love and giving, and that there are limits, conditions and rules making progress towards normative life slower and more difficult. The "romance" is then full of repeated painful separations, and seldom, leads towards an unproductive end. This may easily bring in its wake deep disappointment, and steep physical and mental decline. Seeking another alternative it is all too easy to fall into the open, waiting arms of alcohol, drugs, crime and prostitution.

 

 

The fall into the swamp of drug and alcohol is like a life sentence, and often a death sentence. Only few survive it and manage to clime out whole. Those who find themselves alone, with no help, in this battle will find themselves sinking deeper and deeper despite all their attempts to resist. Is this the essence of the homeless life?

 

 

In my attempt to understand I befriended many homeless, individual and groups. This story is the story of a group of homeless alcoholics of a Russian (or "soviet") origin, who lived for several months in a kind of commune in an abandoned house in the center of Tel Aviv. I studied and documented their life, and got familiar with their relationship to each other and to the "outside world". I got familiar with their methods of obtaining food, smoke and alcohol, I got to know the agencies municipal and charitable where they turn for help and (some) shelter. I heard of their preferences, dreams and their fears. I heard of their considerations regarding drink, and other commodities and learnt their daily schedules and various practices. They taught me their rules and regulations, and we argued about their pro and cons. I witnessed many moments of happiness, and alcohol driven elation, and many moments of pain, sorrow and even mourning when they lost a friend, a parent and even a son. I witnessed them bestowing on each other tender friendship, and their willingness to help each other, and also moments of extreme egotism and estrangement. I saw their group expand with new members they wanted to help, and shrink, when they quarreled or felt fed up. I saw how outsiders disrupted their lives, and finally, how, in the end they were turned by the authority out of their shelter (Zula) into the street and what happened to them thereafter.