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The roots of my life

Reuven Halevi

Photographer from Norway

The roots of my life

The “roots” I went looking for are metaphorical because my imagination as a child was heavily influenced by place. So they are the roots of my imagination and my fantasy. It was like diving into the magical realms of children’s TV in the 70’s but in real life. I feel an urgent need to let the sweet and scary phantasmagory flow through photographic expression. 

 

 


 


But these “roots” are also more literal. It means moving back to and touching the soil. It means quickly realizing that nature is so much stronger than I am, accepting that and letting it gradually seep in and take control over a lot of how you live your life. It means being with humans,  animals and all the living things that inhabit and walk the earth, and who thus put food on our tables. This farmland reality, I found, was so raw and beautiful, “just” and genuine, that it somehow intertwined perfectly and indelibly with the very poetry I went looking for in the first place. It was its flipside to my artistic origin story, its setting.



 

 


 

 


 

One of the tools I have come to use the most often and with great ease is the wide-angle lens. 

The reasons for this are many. I want my gaze to continue being childlike. I find lenses wider than 35mm to be naively loving, embracing, immersive as experienced through childlike wide-eyedness. And I love a lot of air. The world is so big. 

This is more than what a tele can offer me, personally. To me, they adopt a critical, distant attitude - more cerebral and withheld, overly suspicious or curious to the point of morose voyeurism, all of course in a very metaphorical sense. I am not against bokeh (by the way, my priority is to have as much DOF as possible and would be using f/16 almost all of the time if I could) and telephoto lenses or what they result in at all. It just doesn’t work for me for the moment and does not convey what I need to communicate effectively.





Reuven Halevi is a street photographer, theater director and artist born in Oslo, Norway. He has lived half his life in Rome, Italy, where he initially moved to study theater directing and where his experimentations with different forms of artistic expression eventually brought him to pick up the camera, which he hasn’t put down since. He played around with photography as a kid long before the advent of digital photography, so his basic training is purely analogical. Though he still shoots film on occasion and works the darkroom, today he shoots most of his work digitally. Reuven won the EyeEm Street Photographer of the Year Award in 2016, and has been a repeat finalist in among others the prestigious Miami Street Photography Festival, StreetFoto San Francisco, Brussels Street Photography Festival and Lensculture Street Photography Awards. In 2018 he took second place at the London Street Photography Festival. His works have been exhibited in Berlin, Miami, Rome, Brussels, San Francisco, London and Zurich. He is included in David Gibson’s “100 Great Street Photographs” (2017) and has been published several times by magazines around the world, latest (2019) in Das Magazin, the weekly supplement of Switzerland’s newspaper Tagesanzeiger. He is also a member of the international photography collective InQuadra. 

Reuven left Italy to commence a year-long poetic documentary project in the heart of the Norwegian farm country, where his family spent most of their vacations during his youth. Upon the conclusion and publication of this project he will again change his venue, and again offer workshops in street photography in Rome and other cities around the world. 

Reuven photographs because it is, as an artform, his basic tool for coping with and understanding the world as a constant and mostly chaotic and poetic flow of experience, and second, regretfully, only to direct physical communication language.

森养最佳标准画角提案解析

从人与人之间的关系乃至为了营造美丽的空间而布置装饰品时都需要保持适当的距离。那么,为了更好地欣赏美术或摄影作品,我们应该保持多少距离?

答案是相当于“作品框架对角线的长度”的距离。

표준화각 자료 이미지
표준화각 자료 이미지

为了将作品完整地纳入视野并予欣赏,保持相当于作品对角线的距离为宜。如果距离过近,将大于人眼可集中精力的50°视角而无法取的良好的欣赏效果。

为了最佳欣赏效果与最佳视角而保持理想距离也适用于摄影技术。在拍摄静止画像的摄影技术中,将等于摄像面对角线长度的焦距镜头定义为标准镜头。数码相机的全帧传感器尺寸为36x24毫米,其对角线距离约为43.26毫米,标准镜头应为多少毫米以下的最理想答案可以称为“接近43.26毫米的数据”,而难以断定是至今被视作标准镜头代名词的“50毫米”。

以往与胶片对角线长度相仿的45mm画角镜头较为常见,随着SLR相机大获成功,为了保留可容纳反射镜的空间,50mm被视作标准镜头。但是,最近随着无反相机底边大幅放大, 鉴于无反相机法兰距短的特点,需要将标准镜头的画角以45mm再度予以解释,由此开始研发AF 45mm F1.8 FE。 与35mm画角镜头相比,三阳的AF 45mm F1.8 FE将畸变现象降至最低,且比55mm画角拍摄范围宽,为人物、风景、建筑物及宠物等各种主题摄影呈献令人满意的效果。

DSLR / Full Frame
1D X Mark Ⅱ
1D X
1Ds Mark Ⅲ
1Ds
5DsR
5Ds
5D Mark Ⅳ
5D Mark Ⅲ
6D Mark Ⅱ
6D
DSLR / APS-H
1D Mark Ⅲ
1D
Mirrorless / APS-C
M6
M5
M10
M3
M2
DSLR / APS-S
7D Mark Ⅱ
7D
80D
70D
60D
30D
D60
D30
77D (9000D)
760D (8000D / Rebel T6s)
1300D (Kiss X80 / Rebel T6)
1200D (Kiss X70 / Rebel T5)
200D (Kiss X9 / Rebel SL2)
800D (Kiss X9i / Rebel T7i)
700D (Kiss X9i / Rebel T7i)
100D (Kiss X7 / Rebel SL1)
650D (Kiss X6i / Rebel T4i)
600D (Kiss X5 / Rebel T3i)
550D (Kiss X4 / Rebel T2i)
500D (Kiss X3 / Rebel T1i)
1000D (Kiss F / Rebel XS)
450D (Kiss X2 / Rebel X냐)
DSLR / Full Frame
D850
D5
D810A
D4S
D810
D750
Df
D610
D4
D800
D800E
D600
D3s
D3x
D700
D3
DSLR / APS-C
D7500
D3400
D500
D5600
D7200
D5500
D3300
D7100
D5300
D5200
D7000
D300s
D300
DSLR / Full Frame
Z6
Z7
D810A
D4S
D750
D810A
DSLR / APS-C
D7200
D500
D3300
D5500
D5600
D3400
D7500

* Cameras released within 5 years from 2019 are tested.

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