צלליות בטרקלין היציאה
נוסעים בצללית יושבים ונעים בחלל המתנה רחב ידיים של שדה תעופה, מול קיר חלונות גדול המחלק את האור לשטחים גיאומטריים רכים. הצילום נשען על תאורה אחורית חזקה שמדגישה את הדמויות ככתמים כהים, לצד מעברים עדינים של אור וזכוכית במבנה. יש כאן איכות קולנועית שקטה ואווירה מהורהרת, שמתאימה במיוחד לחלל מגורים, משרד או מבואה.
אייל ביטרמן
Eyal Bitterman (1975) Photography, for Eyal, is a way to pause, observe, and capture the meeting between light and shadow, between people and their surroundings, and between beauty and the cracks that life leaves behind. As an art director in film and television , this visual language accompanies him behind the camera as well, in search of the story hidden within each frame. Through photographs of people, street life, nature, and architecture, his goal is not to show the world as it appears, but to convey the emotions each moment evoked within him.
Eyal Bitterman (1975) Photography, for Eyal, is a way to pause, observe, and capture the meeting between light and shadow, between people and their surroundings, and between beauty and the cracks that life leaves behind. As an art director in film and television , this visual language accompanies him behind the camera as well, in search of the story hidden within each frame. Through photographs of people, street life, nature, and architecture, his goal is not to show the world as it appears, but to convey the emotions each moment evoked within him.
יצירות דומות
