I discovered the following look during a project in which I documented the rapid change of the landscape that characterizes the Coastal Road (from Tel Aviv to Haifa). I started to take the pictures in July-August 2007. Looking at the photos I felt a great disappointment, they did not reflect what I experienced. That is, they were similar to what I saw but did not reflect the heavy feeling of heat, and the bright light I experienced on my flesh.
The same year (2007) Adobe released the beta version of Lightroom software into the digital space. I started using it and found the familiar Hue / Saturation tool from Photoshop, but the way it was organized was different. The tool was organized similar to an equalizer in music systems. The different organization of the tool made me look at appearances that combine color and black and white differently than I knew, and think of color as representing other values as opposed to its realistic representation of detail.
At the same time, I also looked at the engravings made in the country in the 19th century, and especially focused on David Roberts' painted etchings, as they both reflected a light and color experience.
When I removed the colors using this tool, I got a gray picture so I increased the contrast and highlights. Although what I now say will be clear and trivial to any painter, it was a discovery for me: the contrast in a black and white photograph comes from differences in brightness, while the contrast in color photography comes from the color. As I increased the brightness and contrast, I was given the expression of the bright light experience I felt while standing in the field - a light that forces me to close my eyelids almost completely. Then I started bringing the colors back into the picture in a measured and variable way, and I also changed the tendency of some of the colors to cool and warm tones. At that moment the meaning of the colors changed. The colors instead of realistically representing the details in the picture, they translated other values in relation to reality - values that relate to: heat, dryness and growth.
From that moment, I also began to explore color palettes in photography. This investigation was linked to an early concept in black and white photography - the Previsualisation, in which photographers would go out into the field with a set of different color filters to render the colors into different black and white palettes. So did I. When facing the landscapes, I learned to see it differently in my mind. I was glad that I was continuing a photographic tradition and maybe adding something new of my own.
I photographed the landscapes for three years (2007-2010). I called the project "Gradient" because: