One shot interview with Orna Naor
 

This image is part of a continuous project called "women of the sea"; Israeli women from Machsom Watch organisation arrange for women and children from Palestinian villages to come to the sea summer time  ; for most of them it's their first time in their life. 

I'm taking their pictures for the last 3 years,  watching the joy and laughter,  the relations between women from both sides; my purpose in this project,  as in other projects and pictures I'm taking,  is to show we are all, all, just people who can enjoy the beaches and each other's company.  Not 'Palestinians' and 'Israelis"; people. 

I often say I am trying to regain humanity to humanity.

I'm using Fuji xt-3 and Leica Q2

My name is Orna Naor,  I'm a street photographer from Tel Aviv; participated in many exhibitions in Israel and all over the world; Winner of the Local Testimony Exhibition 2016, 2017, 2018 , Miami Street Festival 2019 and more.

Links:

https://www.instagram.com/orna50/

https://www.facebook.com/orna.naor.5

http://www.facebook.com/pages/ONPhotography/585470724844395

http://www.ornanaor.com/

one shot interview with Paul Russell 

Title: judging pigs at the Melplash Show, August 2017

What made you push the shutter button to capture this image?

This photo was taken at the Melplash Show in Dorset in August 2017. Many of my best photos are quite simple, but here I tried to capture the energy of the unfolding chaotic scene, while still keeping everything in the right place. Of course, the more elements you include in a picture, the harder it gets to keep the composition under control.

Is this image part of a wider project, if so what is the project’s focus?

Yes, it’s part of my Country Show series. I’ve been taking photos at country shows near to my home for over a decade. There’s all sorts going on at these shows – the larger ones have expanded to become like small town centres where you can even buy a car or double glazing, but early on I decided to focus on the traditional elements that the shows originally grew up around. In particular, I’m interested in the spectrum of relationships between humans and animals, which range from controlling huge, violent cattle to affection towards the docile farm dog. A selection of photos from the series can be seen at http://www.paulrussell.info/galleryshow/galleryshow.html

Why is this image special to you?

I’ve been shooting the shows for a long time now but a few years ago I became aware that I had plenty of good pictures of cattle and sheep but not many decent pig photos, so I made an effort to record some quality porcine action. The image is special to me because it’s one of the most complex shots that I’ve taken that works all the way from front to back. For example, at the very back of the scene, there’s a girl in a striped top looking through from the other side of the tent. Definitely not a shot for Instagram viewing! If there is a punctum, for me it’s the two judges deep in conversation to the right.

Melplash is a one-day country show in August, usually blessed with good weather, and a great day out but unfortunately it’s already been cancelled this year due to covid-19.

Are there any photography books that inspired you to capture this image?

Any book by a photographer making complex tableaux – so maybe one of the Tony Ray-Jones compilations.

What camera are you currently using?

I had to go and get my camera and peel off the black tape to see what it’s called – it’s a Canon 2000D. I use a kit lens for my seaside and event work like the country shows, and the Canon pancake 24mm for more “streety” type scenarios. I also used a FujiFilm X100 extensively for street work until it sadly died a few years ago.

Please tell us about yourself

After using film cameras for many years, I bought a digital camera in 2003, and started taking photography a bit more seriously. Around 2010 I was featured in the landmark Street Photography New book and the Museum of London’s history of street photography exhibition. More recently, I was included in Prestel’s “Street Photography: a History in 100 Iconic Images”, a selection by David Gibson.

Links to your social media and website

http://www.paulrussell.info/

https://www.instagram.com/paulrussell99/

https://twitter.com/paulrussell99

One shot interview with David Solomons 

 

Picture: Piccadilly Line 1995

What made you push the shutter button to capture this image?

The preacher was an obvious subject matter as he was drawing a lot of attention to himself by his intense behaviour, like he was performing some sort of exorcism. I remember the second I saw him I immediately went to take his picture from an angle where he wasn’t looking at me. That shot failed but the flash immediately drew his attention and he turned towards me, where I managed to get this second shot off.

Is this image part of a wider project, if so what is the projects focus?

I was working on a long term project about the London Underground. I didn’t have a specific idea in mind, it was more a case of let’s go there and see what pictures I can take, like a bumbling tourist.

Why is this image special to you?

Most of my work is more of a studied approach, so this is one of those rare occasions where I’ve reacted to an obvious situation and gotten a good image from it. I like the contrast between the tension displayed by the preacher clutching his crucifix and the three seated passengers. The woman facing us seems to lean aside in an effort to avoid him. The second woman stares at him with disapproval, while the Sikh man calmly looks across the aisle perhaps to gauge other passengers’ reaction to the unfolding scene. The Underground is one of those unusual places where people are forced to sit close to other people they're unfamiliar with, so there's this strange understanding that goes on where everyone develops their own little cocoon and minds their own business. As soon as someone breaks that, people start to shift and feel uncomfortable because they know they usually can't walk away that easily. At the time I shot it, it wasn’t one that I’d picked out in my original 20 picture edit. It’s only when I assembled the book for it a decade or so later, that I discovered it as probably the best shot in the series.

Is there any photography books that inspired you to capture this image?

Bruce Davidson’s ‘Subway’ was obviously a prime influence as I essentially aspired to produce a London based equivalent. Stylistically however, I was more influenced by Garry Winogrand’s ‘Figments from the Real World’.

What camera are you currently using?

Fuji X100F and XE3

Please tell us about yourself

I was born and live in London and have worked as a freelance photographer since the late 1990’s. I’ve self published five books and have recently launched a new series of zines on contemporary and historical photography.

Links to your social media and website

W: davidsolomons.com

bumpbooks.com

IG: @davidsolomons, @bumpbooks