{"id":2078,"date":"2010-04-20T17:58:24","date_gmt":"2010-04-20T15:58:24","guid":{"rendered":"http:\/\/localhost\/azgad\/wordpress\/?p=2078"},"modified":"2010-04-20T18:02:13","modified_gmt":"2010-04-20T16:02:13","slug":"digital-dancer","status":"publish","type":"post","link":"https:\/\/azgad.com\/?p=2078","title":{"rendered":"Digital Dancer"},"content":{"rendered":"

.
\n\u05d2\u05d9\u05e8\u05e1\u05d4 \u05e2\u05d1\u05e8\u05d9\u05ea \u05e9\u05dc \u05d4\u05de\u05d0\u05de\u05e8<\/a><\/strong>
\n.<\/p>\n

Gadi Dagon is dancing. For a photographer, this may
\n sound somewhat strange. But for Gadi, it's not surprising
\n in the least. When he was immersed in sports photography,
\nhe showed up one day with a portrait of himself in boxing
\n gloves, with a crushed nose and blood trickling down his
\ncheeks to his chin. Just as he once shared the blood of
\n his sports subjects, as the Batsheva Dance group's
\nphotographer, he shares the dancers' sweat \u2013 and
\n sometimes also their tears
\n.<\/p>\n

.
\n\"\"<\/a=\"\"]\"\"<\/a> \"\"<\/a>\"\u05d2\u05d3\u05d9<\/a> \"\u05d2\u05d3\u05d9<\/a>.
\n.
\n.<\/p>\n

In the world of photography, there is one boundary \u2013 that
\nis generally thought to be impassable. That boundary is the
\n camera itself, which distinguishes between those standing
\n in front of the lens and those who hide behind it. The ability
\nto be simultaneously on both sides of the boundary is reminiscent
\n of the paradoxical locking of a drawer and leaving the key inside.
\n Gadi Dagon has uncovered the secret of being there on the
\n stage \u2013 or at least \u2013 leaving his mark on it \u2013 even though his is
\nan observation point of sorts.
\n.<\/p>\n

The "Boxer" self-portrait is testimony to Dagon\u2019s tendency
\n to always star on both sides of the fence, to tear down
\n the invisible wall between the photographer and the photographed.
\n Nonetheless the boundary continued to divide the two worlds \u2013 until,
\nthat is, the advent of digital photography, which led him to the
\n breakthrough he had been seeking for a long time.
\n.<\/p>\n

Dagon switches the camera to manual mode and sets it to
\n a relatively slow exposure. This mode enables him to dance
\nwith the camera in the footsteps of the dancers: in the places
\n where Gadi, and therefore, the lens lingers longer, there is more
\nlight or \u2013 that is \u2013 the camera\u2019s sensor captures more information.
\nBy contrast, the places he chooses to pass over relatively
\nquickly acquire a certain transparency. By means of alternately
\n rapid and slow movements, he creates a gradation that is
\n reminiscent of the effect achieved in standard photography through
\nrepeated exposures. Thus the photographer, by mastering both the
\ndancers' body language and the camera's physical attributes \u2013 paints
\n a digital picture of his interpretation of the dance.
\n.<\/p>\n

Gadi Dagon dances behind the scenes or at a window overlooking
\n the stage \u2013 but his dance is documented by the camera he is holding
\nwhile he dances. The camera's lens is directed toward Batsheva's
\ndancers, but on the basis of the resulting photographs the photographer's
\ndance movements can be traced.
\n. <\/p>\n

Gadi Dagon dances in the dark \u2013 but his dance is
\netched in millions of light particles playing on the
\ndigital sensor.
\n.
\nGadi Dagon dances with the dancers \u2013 mastering the tiniest
\n movement of their muscles.
\n.
\n.
\nhttp:\/\/www.youtube.com\/watch?v=3nOOadP0oeI
\n.
\n.
\nGadi Dagon dance-paints with his camera. The camera\u2019s
\nsensor his canvas; time \u2013 his paintbrush; the dancers \u2013 his
\n palette
\n.
\nGadi Dagon is the digital dancer.<\/p>\n

.
\n.<\/p>\n","protected":false},"excerpt":{"rendered":"

. \u05d2\u05d9\u05e8\u05e1\u05d4 \u05e2\u05d1\u05e8\u05d9\u05ea \u05e9\u05dc \u05d4\u05de\u05d0\u05de\u05e8 . Gadi Dagon is dancing. For a photographer, this may sound somewhat strange. But for Gadi, it's not surprising in the least. When he was immersed in sports photography, he showed up one day with a portrait of himself in boxing gloves, with a crushed nose and blood trickling down … <\/p>\n

\u05d4\u05de\u05e9\u05d9\u05db\u05d5 \u05d1\u05e7\u05e8\u05d9\u05d0\u05d4<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4],"tags":[508,86,249],"class_list":["post-2078","post","type-post","status-publish","format-standard","hentry","category-4","tag-508","tag-86","tag-249","nodate","item-wrap"],"_links":{"self":[{"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/posts\/2078","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/azgad.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2078"}],"version-history":[{"count":72,"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/posts\/2078\/revisions"}],"predecessor-version":[{"id":2179,"href":"https:\/\/azgad.com\/index.php?rest_route=\/wp\/v2\/posts\/2078\/revisions\/2179"}],"wp:attachment":[{"href":"https:\/\/azgad.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2078"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/azgad.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2078"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/azgad.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2078"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}