The surreal thing about living through a war in Israel, or being a journalist during a war here, is that you can be in the office in Jerusalem in the morning and observing the front lines of battle after less than a twohour drive. More often than not during the summer of 2014, day trips were taken to the towns bordering the Gaza Strip, to document the act of war on the stage of normal communities. From an overlook in Sderot, one could photograph billows of smoke from Israel Air Force attacks, as exhaust trails from rockets fired from the Strip criss-crossed the sky, tanks congregated in farm fields and soldiers combated boredom while waiting for the order to go in. It's reported that nearly 800 foreign journalists flew in during this time to document and report on the conflict – in addition to the already over 700 journalists based in the country. Photojournalists documented 50 days of suffering and destruction on both sides. For Ilia Yefimovich and Uri Lentz, two Israel-based photographers, the amount of work and stories that emerged were too spectacular for them not to provide a larger forum in which they could be showcased. Their solution is The Archive, a bi-monthly, international online photography magazine, in both Hebrew and English. “We are trying to find a better solution, a better place to exhibit professional photography,” Yefimovich says, noting that newspapers are becoming a lesser avenue for photographers to gain exposure and recognition. “There is nothing like this in Israel,” Yefimovich points out, adding that Local Testimony, an annual, regional photojournalism exhibition, provides an outlet – but not of the magnitude The Archive hopes to achieve. The first issue is over 100 pages, displayed online using sleek graphic design and intuitive interactive features. “Each time we received more and more pictures,” Yefimovich says. Each issue has grown – from 100 pages to 122 to over 140 – and the fourth issue is expected to be around 120 pages. But without enough of a budget, The Archive needs to stay online. Yefimovich says they will be ready to print whenever they get the money – but until then, they are online and also showing at different exhibitions. “To be able to display the photographs in a larger size, printed on the wall, is in my opinion the best way to show a photograph.” While the project is global, the subject matter of the first three issues mostly covers topics from Israel and its internal and surrounding conflicts. The first half of The Archive spotlights a variety of photographers that all comment on a specific theme; the first issue reflected back on Operation Protective Edge. It's hard not to be shocked by the surreal reality of the images. Tanks are photographed against the backdrop of blooming farm fields, soldiers with guns rest near playgrounds of the kibbutzim where they are stationed. Moments of calm – soldiers resting in the twilight – are pitted against fired rockets streaking against the night sky. In considering which photos to choose, Yefimovich says the goal was to find images that complemented each other. Therefore, some of the images are graphic and shocking, yet powerful. On both the Israeli and Gazan sides, there are photos of death, mourning and homes riddled by bullets and shrapnel. The second half of the online magazine features interviews with prominent photographers and space to exhibit long-range photo projects. For example, the first issue features an interview with veteran Israeli and Reuters photographer Amir Cohen, who talks about how he got started in the business and his mentors. A selection of his work includes documenting African migrants near the Holot detention facility; soldiers and residents of the South during the conflict; religious Jews celebrating the holidays; and a portrait of president Shimon Peres and Pope Francis planting a tree of peace. An example of a long-range project is that of Hadas Parush, who documented the Batsheva Dance Company for the third issue. Parush captures the dancers in equal moments of rest and performance, made unique by the her use of light and dark, shadow and spotlight. Submissions are garnered through an open call to photojournalists, with detailed subject matter and a deadline. The fourth issue, which is released today and focuses on the elections, has photographers submitting up to the last minute. When I spoke to Yefimovich last week, he said the photos that will stand out for him will be more behind- the-scenes, catching politicians backstage in more personal and intimate moments, instead of the public personas they put out in front of large crowds. “Something that shows they are also people, and not just a bunch of machines telling us the same thing again and again.” In judging and selecting photographs, while the capacity for photographs to complement each other is the main goal, Yefimovich describes what is most important: To take into account photographs with a unique perspective or angle. “We're trying to make as big a variety of, let's say, angles and ideas on a specific subject.” Yefimovich also says that the photographs don't have to be “hard-core,” i.e. documenting the side of Israel that deals with conflict and strife. “It could be something very simple,” he explains. “Just something aesthetically nice.” He says that in the past it was important for photojournalists to just bring the news, but with the advent of the Internet and an explosion of media outlets, it's essential to try a different angle of a photograph, strive for the complex or change the viewpoint. Ultimately, the photograph should be compelling. Yefimovich puts it simply: “A picture should make you think.” Photographers are not compensated for their submissions, but Photo Prisma, a Jerusalem-based print shop, has offered NIS 500 to a chosen photographer from each issue. “We are happy that Photo Prisma gives out this prize to the photographers that take part in our project,” Yefimovich states. But his hope is that The Archive in general will provide opportunities for greater exposure for photographers – not only veterans, but those just starting out. “Our goal is not to give away prizes, but to create a larger archive of documentary photography of today.” In addition to the release of their fourth issue, 36 photographs from the collection will be on show at the fifth annual Tel Aviv Photo Fair, which will run from March 26 to 28 in the heart of Jaffa. “We just want the photography to get as much exposure as possible,” emphasizes Yefimovich. The exhibition was founded and is curated by Dalit Merhav and her partner, Hila Tadmor. For Merhav, the motivation to start the Tel Aviv Photo Fair five years ago also played on this idea of the struggling artist and the lack of venues for photographers to show their work. “The time is not good for any artist; its not easy to be an artist and support yourself,” Merhav maintains. The goal of the photo fair, then, is to offer a helping hand, Merhav says. “We try to give them a way to succeed,” she says, stressing the show can offer young photographers exposure to audiences that wouldn't normally be available to them. Merhav is effusive in her praise for The Archive. “There are many very good Israeli documentary photographers, and they [Yefimovich and Lentz] are working with them.” She describes their working relationship as a glove to a hand, in that “it fits together perfectly.” While The Archive features prominently at the exhibit, the spectrum of work and artists covers a variety of themes and topics. Merhav is also excited about the venue, in a renovated Arab mansion, with “big white walls and good lighting.” For her, this is also the best and only way to display a photograph. “Documentary photographers have to act very quickly; it's a second to shoot, to do the click. That second can make them very famous.” The Tel Aviv Photo Fair will take place March 26-28; 13 Aza Street, Jaffa-Tel Aviv. For more information, visit: telavivphoto.co.il. See The Archive mag at: www.thearchivemag.org/
