Interview with Eli Matityahu
"Shades of Gray" magazine No.25
Editor: Jean-Michel Missri | July, 2020 | pp.6-32
1. How and when did you start photography, and what was your learning path?
I started photography seriously about 20 years ago, taking courses and start shooting. After while I submitted auditioning at the Jerusalem Municipal Gallery. They accepted them, and I won the Solo Exhibition for the first time in my life. This fact made me go much deeper into the field of photography. I bought a DSLR camera, signed up for photography courses, and started a long and exciting journey that did not stop even for one day until today.
I participate in many classes and workshops worldwide, such as Joel Tjintjelaar, Michael Levine, etc. Today I continue my studies with Master Eldad Rafaeli. At the same time, I continue studying Photoshop, and give lectures at photography clubs about my path in photography.
My lecture called "From as-is shooting to Fine art photography" shows my path from when I started photographing until my works became a creation of art.
2. What led you to architecture photography?
I went through a long and varied way in photography. The genre that inspired me was the architecture genre, abstract and urban landscape. What attracted me was the architectural work of the architect Zaha Hadid. When I saw the impressive structure with its unusual outline, my camera pursued these lines obsessively.
I began photograph architecture in general, and Zaha Hadid works in particular. I started planning my trips to shoot her exciting designs in Azerbaijan, New York, Spain, Italy, Germany, Korea, China, Austria, Russia, and more.
My attention to Hadid's structures attracted me to shoot the works of other contemporary architects, such as Frank Gerry, Sir Norman Foster, S. Calatrava, Tadao Ando, Daniel Libeskind Ron Arad, and more.
3. How do you select your location?
I usually choose the location with impressive architectural structure and unique lines that lead the eye to an unclear picture sector.
Sometimes I shoot a picture of architectural elements from the inside of the form and thereby make the work abstract. Before I get to work, I examine the structure and learn all sides. I also choose a shooting position where the background will be as clean as possible, and there will be no distracting objects; even though I can clear when I do post-processing, I try to get the image initially clean.
4. How do you prepare for a shoot?
Photography day is a holiday for me. I prepare my gear from the night before, take at least two cameras, a tripod, and various lenses, memory cards, spare batteries, various filters, and try to think of anything I might need.
5. What kind of equipment do you use (camera, lenses, filters)
My equipment includes 2 Nikon full-frame D750, D810, Nikon p750, Sony Alpha 7 camera, and a variety of F2.8 lenses such as Nikon F2.8 14/24, 24/70, 70/200, 300, 60mm2.8, Tokina fisheye, and more; of course, I also have a variety of various size tripods and ND Format-Hitech filters.
6. Architecture photography is mostly a game of lines and shapes. How do you work with your composition?
After choosing what structure I would like to photograph, I walk around it and get to learn it angles, lighting and photography options, then I start to take pictures, choosing special angles, with a special light fall, and as much as possible neutral backgrounds.
For buildings with special architectural lines, I use a wide–angle lens 14/24 f2.8, because it gives more interesting results. If there is no special reason to shoot in color mode, I turn the camera to a b&w mode, which allows me to see the better the results.
The composition itself should be minimalistic, and the subject has to be highlighted with no distracting objects.
7. I like to understand your intent/vision. Do you have a specific intent when you are on location and have a specific final image vision, or do you work on getting a well-composed/exposed image and finalize it with experimentation during post-processing?
I usually have a vision after examining the structure and what it offers me from the side of photography. Sometimes, I find out later in the post-processing things I did not see at first, giving me more options.
For example, I can show only part of the frame or rotate it to become abstract. Sometimes I interfere with the light falling or create new lighting.
In general, my compositions tend to be abstract, minimalist, and aesthetic. I try to find the secret hidden inside the frame.
8. Processing Architecture images is often a real challenge. Masters like Joel Tjintjelaar and Julia Anna Gospodarou made a style definition. Can you describe your processing workflow, and explain how you work the light on your images?
Lovely, you mentioned Joel Tjintjelaar and Julia Anna Gospodarou. They are my guides and are a source of inspiration for me. I attended their workshops, learned from their books, and we keep in a relationship.
My workflow is like this: First, I shoot the object in Raw format, I upload the file to ACR and handle it in all possible parameters of the software, including the direction of the light.
I intend to tell a story of light and shadow, looking for minimalism and create drama. I continue with Adobe Photoshop for post-processing with the PS tools like Luminosity Mosque, Curves adjustment layer, and more.
If the background of the architectural element is full of distracting details, I try to hide or clear those details.
You have to know that I am not always true to reality, as I am not a documentary photographer but an artistic photographer. I do not show the reality as is, but I envision it in my mind's eye.
9. How do you choose Black& White instead of color?
Usually, in my genre, I prefer B&W. Black and white show the emotion and truth of the image because the colors draw the eye to the stain, while black and white emphasizes the composition and the fall of light without the color "stealing" the attention. Besides, we are, in fact, full of vast amounts of color and details that stimulate our senses and lives.
Black and white photography is an island of quiet, contemplation, simplicity in the sea of chaos. Black and white photography has a kind of honesty and authenticity. Through photography, you find natural beauty in things after removing the color masks.
In B&W, there is an endless wealth of subtleties, light and shadow, and emotions. Black and white photography gives a new quality to familiar things. Obvious details are rediscovered.
Black and white emphasize patterns, texture, the richness of feeling, and the illusion of touch. B&W gives a sense of classic, unique, drama, feeling of emotion, romantic, tragic, and nostalgic. Of course, depending on the lighting, the message, and the photography style.
10. What kind of software and plugins are you using?
I use Adobe ACR programming, Photoshop, Bridge, Tk Luminosity Mask, and more.
11. How do you build these shades of Grey palettes, and is there any particular reason for these strong colors?
I construct my black and white color palette so that it will have a variety of grays from absolute black to absolute white. In this way, I create the story and the drama. It is very important to have a full black within the image, and strong contrast, so I get the drama story, I am looking for.
12. Social media are now a key element to promote and distribute your work. Which one is the best for you and why?
I have a website: elimati.myportfolio.com, a Facebook page called Eli Matityahu EliMati, and an Instagram page called elimati10. I use them all and love them all.
Today Instagram is more popular than Facebook as it is more accessible. I founded a Facebook group called "Fine Art & Long Exposure," and there are about 100,000 members.
13. Finally, do you have one great advice for any aspiring cityscape/architecture photographer?
My tips are: Try to shoot in Black and White mode, Shoot Raw, Long Exposure, Build the Dramatic Story, and Emotion. All your work must go post-processing, letting your imagination and creativity lead you.
Remember that a Piece of Art is the meeting place between the artist and the viewer. The more your work will be fascinating, the more the meeting will be successful.