Israeli Lens #6 - Nature, Wildlife and Landscape

Fine Art Photography Magazine

March 2015 #6

Lior Yaakobi • Moshe Filberg • Ido Siman-Tov Amy Kanka • Dan Ben-Arye • Iris Zemach Mossi Armon • Assaf Gavra • Etay Zohar

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I'm most excited to present this month's issue of the Israeli Photography Magazine with the amazing subject: Wildlife, Nature & Landscapes.Ever since digital SLR technology has become more readily available, more and more people have become photography enthusiasts, and more and more photography enthusiasts have started venturing into a genre previously reserved for only a select few… Wildlife Photography. It seems that this field, in conjunction with Landscape Photography, has really seen a huge growth spurt in these last few years… at least as it pertains to the amount of people practicing them as serious hobbyists or budding professionals. In this Magazine we will attempt to provide you with some easy-to-apply tips or advice for improving your Wildlife Photography, we exhibit very talented Photographers with incredible landscapes and nature photos. I wish you all a lot of enjoyment! And the most important to remember:"When we try to pick out anything by itself, we find it hitched to everything else in the universe." John MuirAll Art for Sale! Safe Buying & Free Shipping World Wide!

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Contemporary Fine Art Photography MagazineEditor & Founder : Dafna Navarro

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TABLE OF CONTENTS

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Cover Photo: Moshe Filberg. Scout flight. Quality Print on Epson Photo paper . Signed & Numbered. From a series of 20 units only. 80x120cm. $850

Editor & Founder : Dafna Navarro Content Editor : Emma Gotenberg

Graphic Design : Ziv Kay

6/ Tips & Tricks To Shoot Amazing Landscape Photographs

10/ Wildlife And Nature Photography By Kevin Lewis 16/ Lior Yaakobi 50/ Moshe Filberg

56/Amy Kanka Valadarsky - Winter Sun

72/ Dan Ben-Arye - Clouds Above Ein Hod 88/ Assaf Gavra - Wonderland 106/ Etay Zohar

124/ Iris Zemach 144/ Mossi Armon - The Negev Desert

160/ Ido Siman-Tov- Nature In New York

178/ Most Influential Photographers - Edward Steichen

186/ Elsewhere - Maria Stenzel - The South Sandwich Islands 194/ 2015 Sony World Photography awards - Professional 214/ Anonymousfor Animal Rignts

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The New Magazine for Contemporary Fine Art Photography

Available for subscriptions and single Issues on Apple Store Newsstand, Magzter.com, joomag.com, issuu.com, and available in

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Tips & Tricks To Shoot Amazing Landscape PhotographsLearn how to take creative and incredible shots of land & nature

1. Check out different anglesAlthough a certain angle might initially catch your eye, it’s important to walk around a bit to see the landscape from different perspectives. Dare to shoot from an unusual perspective and you’ll be surprised by what you can achieve.

2. Isolate the elements that catch your eyeRather than trying to capture the entire breathtaking view in front of you, isolate the elements that are visually intriguing to bring depth to the image and complement the landscape.

3. Add an element to the foregroundElements in the foreground give the viewer something to focus on and help frame the scene. Use a person, animal or a tree as a focal point to draw the eye of the viewer.

4. Quality of lightReturn to the same spot at different times of the day to produce dramatic contrasting images. The quality of light varies with the position of the sun, which is something to keep in mind when scouting locations.

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How many times have you stopped to take a photo of a beautiful landscape – an incredible coastal seascape, mountains in the distance or a field of sunflowers – only to find that what caught your eye is not at all what shows up in the photograph?Shooting landscapes can be tricky. Here are 10 tips & tricks that will inspire you to get creative and take incredible shots of land & nature.

5. Include people for scaleSometimes natural phenomena don’t seem as big and grand in photographs as in real life. To remedy this, include people for scale and make sure they’re a bit off-center (remember the Rule of Thirds!).

6. Rule of ThirdsTo ensure that you create a great landscape composition, divide your photo into 3 parts, from left to right – a technique known as the Rule of Thirds.

7. Try panoramasShoot in panorama mode to really capture the entire scene in front of you. With panorama, you’re often able to include extra details that you could not have with a regular landscape shot.

8. Use geometry and lines to create structureGive the eye something to follow – roads are perfect for this. Anything that creates a nice line or geometric shape can be used as a focal point to create structure and bring form to your image.

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9. Try the picture within the pictureThis technique is simple and straightforward. First, print a photograph of the landscape you would like to shoot. Then hold up the printed photograph in front of the landscape and snap your picture. It’s quite fun to do and something different to try out.

10. Get inspired by the mastersPhotographers like Ansel Adams, Maria Stenzel, Jim Brandenburg and Charlie Waite provide great inspiration for what you can accomplish with landscape photography. They demonstrate the patience and timing that is required to capture the perfect shot.

Copyrigted to @maddie Community Manager at EyeEm | [email protected]


Wildlife and Nature Photography by Kevin Lewis

Circle of FearAnimals, including ourselves, have a natural circle of fear. As you approach an animal it will normally watch you getting closer and gradually becoming more afraid and at some point will either run/fly off or attack you. You have just stepped inside its circle of fear. The size of this circle is very variable and depends on the attitude of the animal at that moment, is it aggressive by nature? Is it timid? Is it hungry or injured? Etc.

If you sit quietly and let the animal approach you this circle of fear becomes much smaller because the animal has more control of the situation. Taking advantage of this will allow you to take photographs at a much closer distance giving you higher quality images.

Fill the FrameTry to always frame the subject in the camera so you do not have to crop the image significantly. In order to do this you may have to move closer to the subject or wait for the subject to come closer to you. Moving closer will increase the likelihood of disturbing the subject so waiting for it to come to closer to you is always better. Please remember we should all coexist with wildlife and should not disturb them just for the sake of a photograph.

CamouflageCamouflage doesn’t necessarily mean wearing full-on camo gear from head to toe. What camouflage does is minimize the impact your presence has on an animal behavior by either reducing your visibility or breaking


Wildlife and Nature Photography by Kevin Lewis

Copyright to Jan van der Greef ©


up your outline. Wearing drab colored clothing can be just as effective as a camouflage outfit. I would recommend wearing gloves as the white floppy things on the ends of your arms can cause animals to react instantly as you move them around. Think about carrying around some light weight scrim netting that you can throw over yourself and camera gear.

Predicting a Birds Flight pathBirds hate to stand or fly at low level with the wind behind them and will naturally land and take off into the wind, they will also perch facing the wind. You can use this behavior to position yourself relative to the birds you

wish to photograph and improve the chances of getting the image you want.

Correct Exposure for In-flight BirdsIf the background is constantly changing from land to sky using an auto exposure mode will result in poor incorrectly exposed images. Try switching to manual mode and taking an exposure reading off of a neutral grey subject which is in the same lighting condition as the subject you want to photograph, something like grass is always a good choice. Then shoot in manual mode rather than use Av or Tv modes and the EV compensation. If the subject is lightly coloured manually reduce the exposure by

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1/2-1 stop, if it is dark coloured then increase the exposure by 1/2-1 stop. Using manual mode in this way will give you better control over the exposure of birds in-flight. Remember the underside of a bird in flight will normally be in shadow so an increase in exposure is usually required.

Catch the LightThe best photographs of wildlife are rarely taken at midday with the sun directly overhead. At noon the sun throws harsh nasty looking shadows that spoil most photographs.

Early morning or late afternoon with the sun lower on the

horizon provides the wildlife photographer the opportunity to take beautiful warm images with attractive lighting.Slightly overcast days with high cloud are good for photographing animals that have a high contrast.

Dead or Alive?Without a catch light in the eye an animal photograph appears lifeless. A catch light can be natural or generated by the careful use of flash or it can be photoshopped which I personally hate! If there isn’t a catch light in the eye I typically throw the image away.


FocusMost wildlife photography is taken with a long focal length lens from 200mm up to 600mm or greater. The depth of field with the magnification produced by these lenses is very limited, so the point of focus is critical. The eye of the subject is, with very few exceptions, the critical area to focus on. If you allow the lens to auto focus on a subject it will typically focus on the chest or side of the subject which means the eye isn’t pin sharp. If you can, either use manual focus or auto focus on the eye and then use focus lock so you can recompose the image. If the eye isn’t sharp then bin the image.

To Flash or not to Flash?Used correctly the effects of using flash shouldn’t be noticeable in the final image. What you can get from using fill-in flash is a catch light in the eye and a localised edge contrast boost which gives a perceived increase in image sharpness. It can also be used to balance the exposure of a back lit subject.

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Get Up EarlyMost flying insects cannot fly until they have warmed up. Take advantage of this fact by getting up very early and find your subject before they can fly away. It is possible to get extremely close when the insects are still too cold to fly. Cold mornings can also bring dew which can look very attractive on a dragonfly or butterfly.

Low and SlowApproaching insects very slowly and crouched down or even crawling can get you into position close to the subject. It isn’t easy to achieve, but with practise it can be done and the rewards are great if you keep trying. Remember, do everything slowly, move your hands, arms, legs, body and head very slowly and you will get some great images. Also ensure that your own shadow never moves over the insect or it will be gone before you can even blink.

Shoot at Eye LevelGet down level with the subject. This viewpoint is much more appealing photographically.


LIOR YAAKOBI

I’m a passionate self-taught Photographer from Israel.I used to live in Boulder, Colorado, for several years and recently moved back to Israel. Photographybecomes a real passion for me, mostly in the last couple of years. I travel a lot and always combining myTravel hobbies (treks and mountain climbing) with my photography passion. Landscape photography isWhat attracts me the most but I’m trying to open myself to other types of photography.

I’m always trying to give my additional view or look at my photos and to bring something that will tell a story of the place.I’m working for an international software company and currently living in Kibbutz Givat Haim Ichud.Been using Canon 7D with 10-22 lens for most of my work but recently I’m working with the NikonD610 and the 16-35mm for landscape with the “support” of the 70-200mm lens.


“To the complaint, 'There are no people in these photographs”,' I respond, There are always two people: the photographer and the viewer.”-Ansel Adams


Hamnøy, Lofoten - I was looking forward for some great morning colors over Reine area but unfortunately that morning was all cloudy and rainy. I was driving back to my Rorbuer (hut) and just when I was about to enter – I saw that cloud coming in. So even I wasn’t able to get a golden sunrise as I was hoping - I was still happy to get that amazing view.


Lior Yaakobi . Hamnøy, Lofoten. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Lior Yaakobi . Morning has broken. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950



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Lior Yaakobi . Endless Morning. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Lior Yaakobi . On The Way. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Flying Away - "No one is free, even the birds are chained to the sky". For some reason I was thinking about this Bob Dylan's quote while taking this picture.I was looking for a place to take a shot and I wasn't realizing that there is a huge seagull nest just below me. I felt sorry for making these amazing birds angry but at least I got the shot...


Reine Morning Light - I had only 3 days (2 mornings) in Reine, Lofoten Islands and I was hoping for a good weather. First morning was horrible...a lot of rain...but the second day was much better and I was able to capture this pano.


Lior Yaakobi . Everlasting. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Lior Yaakobi . Moraine Rainbow-1. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Moraine Rainbow - An old one from a trip to Canada. I have several versions of this location-this one is one of my fav.

Lior Yaakobi . Moraine Rainbow-2. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950



Lior Yaakobi . The Boat. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950



Lior Yaakobi . Jokulsarlon Lagoon. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950


Lior Yaakobi . A Serene Moment. Quality Print on Photo paper C . Signed & Numbered. From a series of 20 units only. 80x120cm. $950



Moshe Filberg

Moshe Filberg. A sea of cranes .Quality Print on Epson Photo paper . Signed & Numbered. From a series of 20 units only. 80x120cm. $1000



Quality Print on Epson Photo paper . Signed & Numbered. From a series of 20 units only. 80x120cm. $850

Moshe Filberg. Scout flight. Speed 1 \ 3200 Aperture 5.6ISO 400200mm lensCamera: nikon d-60Without a tripod


Moshe Filberg born in Israel, Live in Gedera

"I photograph since I was a teenager with my first Kodak Retina camera, now it's a collector item.In the last 15 years I photograph with digital cameras and 10 years with Nikon cameras.I photograph whatever I find beautiful and beautifully photographed through my lens: Landscape, people, streets, flowers, sunsets and sunrises and everything that the nature is painting. Most of my Artworks made in Israel.I can walk up in the middle of the night and drive 2 hours just to get to an exotic place and wait for a good sunset frame.When I take street photos I think "black and white" and then implement it with Lightroom.I like to edit my photos with HDR technic because it gives the photo a personal artistic touch.In the last years photography become more important in my life and all the walls in my house and many other places full of my photos, I also offer training to other photographers in many subjects.Enjoy :) "

Copyright to Dafna Navarro. Israeli Art Market © 2014, All rights reserved. No part of this magazine may be re-used without the written permission of the publisher. The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.

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Israeli Lens #6 - Nature, Wildlife and Landscape

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