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The World of Aesthetics and Journalism

In a world in which the camera is used to capture even the most minute event, it is difficult to discern whether a photograph can be construed as a piece of art or simply a documentation of a moment in time. However, there are those who are talented enough to meld the two concepts together in order to create an aesthetically pleasing and thought-provoking record of history.

One such person happens to be the Israeli photojournalist, Pavel Wolberg. Wolberg, while originally a native of Leningrad, immigrated to Israel at the age of seven and has managed to delve into the Israeli culture in such a way that has allowed him to not only fully comprehend and relate to the issues that face the nation on a daily basis, but to also portray them through his artistic photographs in such a way that allows all who see them to connect with his perception of the world in which he lives.

Wolberg's photographs, which are initially shot for the newspaper for which he is a press photographer, capture a number of different elements of Israeli life while at the same time portraying a unique element of artistry. The content of Wolberg's work deals primarily with the conflict between Israel and Pakistan. Therefore, a number of Wolberg's photographs depict scenes of war, soldiers, and, as it is the cause of the rift between the two countries, religious rituals and implications. However, Wolberg also manages to capture the somewhat lighter aspects of Israel, such as the nightlife and social culture.

The artistic techniques that Wolberg uses on his photographs, such as the blurring of faces and peripheries and the use of twilight and shadows, turn his ordinary pictures into what can best be described as depicting, "The noise at the heart of the explosion to the silence at the margins of the catastrophe" (Tel Aviv Museum of Art). With a basic understanding of the aesthetic techniques that Wolberg uses in order to both draw attention and create a deeper level of meaning beyond the façade of his subject matter, one can then begin to interpret the significance and relevance of Wolberg's photography.

As a photojournalist, Wolberg's primary focus is in capturing the perfect image in order to convey a viewpoint that is predominantly factual, but, when observing Wolberg's photographs, it is undeniable that there is much more than what initially meets the eye. In a 2004 photograph, Wolberg captures the image of a young girl who is standing outside and dressed up for Purim, a holiday to celebrate the rescue of the Jewish people from genocide in ancient Persia, while surrounded by Israeli soldiers.

While Wolberg claims that what is seen in his work is "not wanted and consciously chosen," as a result of the natural surroundings and environment in Israel, it is clear that his keen eye can depict those images which will have the most impact (Ninio). In this particular photograph, Wolberg clearly conveys the extreme irony found in celebrating a day in which an entire people were saved from destruction by focusing on the ever-present military which is needed in order to maintain a sense of safety on a daily basis. However, the inclusion of the child in the photograph adds an almost absurd beauty to an otherwise negative, and unfortunately all-too-common, Israeli sight. The little girl is a symbol for innocence and beauty which connotes a sense of hope even among a nation filled with evil behavior and death. While Wolberg claims to merely be photographing the daily activity of Israel, it is apparent that there is often a positive underlying message to Israelites, and essentially the world, to be found in much of his work.

As an Israelite, Wolberg's photographs obviously pertain to the many issues and conflicts of the country in which he resides. However, much of Wolberg's work can be understood and appreciated by all nations. A prime example of a Wolberg photograph which crosses national barriers is his 2002 image of soldiers who are standing in a circle, with their hands on one another's helmets, and who appear to be praying. By blurring much of this image and capturing it in the later hours of the day, Wolberg removes the identifiable aspects of the photograph and forces his audience to lose connection with the specific identities of those covered in the military garb. In a world in which war and its effects are present in every nation, this photograph allows everybody to connect with the soldiers and feel the intermingling pain and hope which can be seen as they huddle together. It no longer matters who these soldiers are praying to or which side they are fighting for, it simply matters that everyone can connect with these soldiers and their emotions in their own way. Ultimately, Pavel Wolberg has managed to surpass the role of a photojournalist and become an international artist whom all can relate to.

Bibliography:

Andrea Meislin Gallery. "Summer Photography Show: Press Release." July 7-Aug 13, 2004. http://www.andreameislin.com/index.php?mode=past object;_id=114 view;=pressreleas e.

Grosz, David. "Conflict in High Resolution." The New York Sun 15 Mar. 2007.

Ninio, Moshe. "Point-Blank (Israel): Pavel Wolberg, Photographs of the Recent Time." Tel Aviv Museum of Art, 2002.

Sherman, Dr. Gene. "Israel 2005." Australia Israel Cultural Exchange. Sydney. Nov 2005. http://www.aicec.org/2006/10c/index.php.