One By One Voices · Field Notes
Stills
About These Images
A visual journal from the field.
A visual journal from the field.
Photographs gathered while traveling, filming, and meeting people along the way — fragments from the days surrounding the films. Some images happen before the interview begins. Others come after the camera is turned off.
Between the films, there are people, places, and moments. These photographs are the archive of the days.
For a second, both of them are suspended.
For a second, both of them are suspended.
The length of the hall, the afternoon coming in through the louvres.
The length of the hall, the afternoon coming in through the louvres.
Alone at the end of the corridor, lit as if on a stage.
Alone at the end of the corridor, lit as if on a stage.
A cart left in front of a wall of colour. The floor took care of the rest.
A cart left in front of a wall of colour. The floor took care of the rest.
He stopped, looked straight at the camera, and waited.
He stopped, looked straight at the camera, and waited.
Talpiot Market, Haifa. Friday morning.
Talpiot Market, Haifa. Friday morning.
A moment of private devotion in the most visited room on earth.
A moment of private devotion in the most visited room on earth.
Friends brought a Torah scroll to the desert — this is the moment it passed through the crowd.
Friends brought a Torah scroll to the desert — this is the moment it passed through the crowd.
Living with a Rashayda Bedouin family in the desert.
Living with a Rashayda Bedouin family in the desert.
South of Jerusalem. A world apart.
South of Jerusalem. A world apart.
Part of the Rashayda Bedouin tribe, where we filmed Yaron that day.
Part of the Rashayda Bedouin tribe, where we filmed Yaron that day.
Hospitality is a way of life. Photographed during our filming days with Yaron.
Hospitality is a way of life. Photographed during our filming days with Yaron.
At ease in the desert. The Bedouins know him, the land knows him.
At ease in the desert. The Bedouins know him, the land knows him.
A mother collecting water from the communal truck.
A mother collecting water from the communal truck.
A daily challenge before the camp was connected to a water pipe.
A daily challenge before the camp was connected to a water pipe.
A daily task in the desert.
A daily task in the desert.
A teenager on a donkey — part of the daily rhythm of life at the camp.
A teenager on a donkey — part of the daily rhythm of life at the camp.
The goats are an integral part of Rashayda life.
The goats are an integral part of Rashayda life.
Preparing to pray at an abandoned Jordanian outpost.
Preparing to pray at an abandoned Jordanian outpost.
A camel belonging to the Rashayda tribe.
A camel belonging to the Rashayda tribe.
Many visitors come to the Bedouins from all walks of life, passing through.
Many visitors come to the Bedouins from all walks of life, passing through.
Playing oud in the silence of the desert.
Playing oud in the silence of the desert.
Sitting with Oran, trying to understand who he is and what draws him here.
Sitting with Oran, trying to understand who he is and what draws him here.
We stop, pull over, and stay present. No character — just the land.
We stop, pull over, and stay present. No character — just the land.
A direct gaze while filming Hussein.
A direct gaze while filming Hussein.
The crew in Hussein's shop in the Muslim Quarter.
The crew in Hussein's shop in the Muslim Quarter.
B-roll in the Muslim Quarter, the day we filmed Hussein.
B-roll in the Muslim Quarter, the day we filmed Hussein.
Filming from a rooftop, the Dome of the Rock behind us.
Filming from a rooftop.
Filming on the rooftops of the Old City.
Filming on the rooftops of the Old City.
Roaming the Old City — one square kilometre of endless stories.
Roaming the Old City — one square kilometre of endless stories.
Praying at an abandoned Jordanian fort near the Rashayda camp.
Praying at an abandoned Jordanian fort near the Rashayda camp.
The arched entrance to Abir's gallery.
The arched entrance to Abir's gallery.
Inside the Church of the Holy Sepulchre.
Inside the Church of the Holy Sepulchre.
Outside his studio, just before we started to film.
Outside his studio, just before we started to film.
Working on The Deer series — nature, identity, and transformation.
Working on The Deer series — nature, identity, and transformation.
In his Jerusalem home, beside one of his paintings.
In his Jerusalem home, beside one of his paintings.
Filming in his studio.
Filming in his studio.
Two cameras, a room full of art and books.
Two cameras, a room full of art and books.
Behind the scenes in Michel Platnic's studio.
Behind the scenes in Michel Platnic's studio.
On a rooftop — the Dome of the Rock behind them.
On a rooftop — the Dome of the Rock behind them.
Just before we start to film — the bomb shelter studio.
Just before we start to film — the bomb shelter studio.
Dawn at the Sea of Galilee.
Dawn at the Sea of Galilee.
We pull over, breathe, and stay present. No character — just the sea.
We pull over, breathe, and stay present. No character — just the sea.
At the southern end of the Carmel range, the Mediterranean stretching to the horizon.
At the southern end of the Carmel range, the sea stretching below.
Between Jerusalem and the Dead Sea — the land where we filmed Yaron.
Between Jerusalem and the Dead Sea — the land where we filmed Yaron.
Ancient stone underfoot, laundry overhead — the Muslim Quarter on a quiet morning.
Ancient stone underfoot, laundry overhead — the Muslim Quarter on a quiet morning.
The market moves around her. She holds still.
The market moves around her. She holds still.
Kids will be kids — even here, indifferent to everything adults make complicated.
Kids will be kids — even here, indifferent to everything adults make complicated.
A cairn of stones — someone was here, someone passed through.
A cairn of stones — someone was here, someone passed through.
End of the day. Everyone watching the same thing.
End of the day. Everyone watching the same thing.
A tray of halva. A look that says everything.
A tray of halva. A look that says everything.
Friday morning at the shuk — and nowhere else to be.
Friday morning at the shuk — and nowhere else to be.
A vendor rests between worlds.
A vendor rests between worlds.
Every morning she comes with a box of seeds. Her birds know her.
Every morning she comes with a box of seeds. Her birds know her.
The market closes. The night opens.
The market closes. The night opens.
A quiet presence in the places.
A quiet presence in the places.
Oblivious to everything else — just the music.
Oblivious to everything else — just the music.
A moment of ease — the kind of portrait that appears when you stop looking.
A moment of ease — the kind of portrait that appears when you stop looking.
One of the oldest sounds in the world — grief, memory, and something that refuses to end.
One of the oldest sounds in the world — grief, memory, and something that refuses to end.
She looked into the camera for one second. That was enough.
She looked into the camera for one second. That was enough.
Utterly still in the middle of the crowd.
Utterly still in the middle of the crowd.
A character a place makes over a lifetime.
A character a place makes over a lifetime.
The oven glowing, the paddle in hand — a craft passed down through generations.
The oven glowing, the paddle in hand — a craft passed down through generations.
Cigarette in the corner of his mouth, the desert stretching behind him.
Cigarette in the corner of his mouth, the desert stretching behind him.
Small against the vast sweep of ridge and sky.
Small against the vast sweep of ridge and sky.
A clay jug, carpets, the tractor outside — and beyond it all, the desert horizon.
A clay jug, carpets, the tractor outside — and the desert horizon.
A scene unchanged for thousands of years.
A scene unchanged for thousands of years.
The sky does something you can't quite believe — and you stand there until it's gone.
The sky does something you can't quite believe — and you stand there until it's gone.
Sunrise at the Dead Sea. A man, a bench, a wire fence — and Jordan across the water.
Sunrise at the Dead Sea. A man, a bench, a wire fence — and Jordan across the water.
Pure joy at the lowest point on earth.
Pure joy at the lowest point on earth.
Jerusalem in one frame.
Jerusalem in one frame.
The heartbeat of the city.
The heartbeat of the city.
The water washing away what the day left behind.
The water washing away what the day left behind.
Feeding Jerusalem for generations — the smile as abundant as the pots.
Feeding Jerusalem for generations — the smile as abundant as the pots.
A moment of ease in a place that has seen centuries pass.
A moment of ease in a place that has seen centuries pass.
Arabic coffee, knafeh, and a brass machine that belongs in another century.
Arabic coffee, knafeh, and a brass machine that belongs in another century.
She asked to have her photograph taken.
She asked to have her photograph taken. Direct and confident.
Half inside, half out — watching the world with total calm.
Half inside, half out — watching the world with total calm.
Passionate about books. Not many clients, he says. He doesn't seem troubled by this.
Passionate about books. Not many clients, he says. He doesn't seem troubled by this.
Both hands on the glass, eyes straight up at the camera.
Both hands on the glass, eyes straight up at the camera.
Playing like no one is watching and like everyone is watching at the same time.
Playing like no one is watching and like everyone is watching at the same time.
There is no stronger bond than the love of a mother for her child.
There is no stronger bond than the love of a mother for her child.
The man who made the desert feel like home — at rest in his own land.
The man who made the desert feel like home — at rest in his own land.
A moment we happened to pass through.
A moment we happened to pass through.
She doesn't look at them. They watch her go.
She doesn't look at them. They watch her go.
At the threshold between his world and the street.
At the threshold between his world and the street.
Friday in Jerusalem.
Friday in Jerusalem.
Red brick and white stone rising above the palm trees.
Red brick and white stone rising above the palm trees.
Before the conversation begins.
Before the conversation begins.
We were filming him when he became ill.
We were filming him when he became ill.
A man alone at the water's edge.
A man alone at the water's edge.
Friday at the Carmel Market.
Friday at the Carmel Market.
In his home studio, surrounded by his charcoal drawings.
In his home studio, surrounded by his charcoal drawings.
A vendor at his stall in Mahane Yehuda market.
A vendor at his stall in Mahane Yehuda market.
One of the most beautiful new buildings in the country.
One of the most beautiful new buildings in the country.
Gallery owner. Taking in the view.
Gallery owner. Taking in the view.
Three languages, one wall.
Three languages, one wall.
Abandoned in the desert, south of Jerusalem.
Abandoned in the desert, south of Jerusalem.
Artist. At home in his studio.
Artist. At home in his studio.
In his home. A lifetime inside these walls.
In his home. A lifetime inside these walls.
Musician. Composer. The oud as memory.
Musician. Composer. The oud as memory.
From the Rashayda Bedouin tribe.
From the Rashayda Bedouin tribe.
Outside his house in the Judean Foothills.
Outside his house in the Judean Foothills.
The city speaks in images.
The city speaks in images.
Two thousand years of stone and colour.
Two thousand years of stone and colour.
Street theology in the middle of a secular city.
Street theology in the middle of a secular city.
Faith rendered in tile, beside the oldest synagogue ever found.
Faith rendered in tile, beside the oldest synagogue ever found.
Gilded brass, red velvet, years of handling.
Gilded brass, red velvet, years of handling.
Metres from the water where it is said to have happened.
Metres from the water where it is said to have happened.
Tel Aviv's walls speak constantly.
Tel Aviv's walls speak constantly.
A black cloth, the harsh sun, and the work of making something from nothing.
One of the tricks of the trade when shooting in extreme light.
His street, his city, his life.
His street, his city, his life.
A fixture of his street. A character Jerusalem makes.
A fixture of his street. A character Jerusalem makes.
The geometry of a city in motion.
The geometry of a city in motion.
One of the friends who comes to the desert to breathe.
One of the friends who comes to the desert to breathe.
The scale of the work understood only through the human figure standing before it.
Scale understood only through the figure standing before it.
The city speaks in images.
The city speaks in images.
Night in his studio. The stones hold the shadow.
Night in his studio. The stones hold the shadow.
At ease in a place that demands a certain kind of stillness.
At ease in a place that demands a certain kind of stillness.
A place for sitting and not needing to say anything at all.
A place for sitting and not needing to say anything at all.
Eyes closed, fully inside the music.
Eyes closed, fully inside the music.
The kind of moment that doesn't need explaining.
The kind of moment that doesn't need explaining.
The best seats in the house.
The best seats in the house.
A ritual older than memory, and his turn had come.
A ritual older than memory, and his turn had come.
She couldn't contain it. The chaos didn't overwhelm her.
She couldn't contain it. The chaos didn't overwhelm her.
Afternoon with painter Chanchal Banga.
Afternoon with painter Chanchal Banga.
Three men pass from shadow into the blaze of the street outside.
Three men pass from shadow into the blaze of the street outside.
Climbing toward the light at the top of a vaulted stairway.
Climbing toward the light at the top of a vaulted stairway.
Moving through the layered noise of the market.
Moving through the layered noise of the market.
Crossing a sunlit passage in the Christian Quarter.
Crossing a sunlit passage in the Christian Quarter.
An old-world silhouette, a modern phone call.
An old-world silhouette, a modern phone call.
Walking together between one duty and the next.
Walking together between one duty and the next.
A direct, unguarded gaze, photographed in passing.
A direct, unguarded gaze, photographed in passing.
The mirror behind him holds the whole shop, and the street beyond it.
The mirror behind him holds the whole shop, and the street beyond it.
The string lights blur into streaks around them.
The string lights blur into streaks around them.
Surrounded by a lifetime of small goods, he glances toward the door.
Surrounded by a lifetime of small goods, he glances toward the door.
Mid-sip, in a store stacked with the ordinary business of the quarter.
Mid-sip, in a store stacked with the ordinary business of the quarter.
Mid-laugh, mid-thought.
Mid-laugh, mid-thought.
Down a quiet side street, past a locked white door.
Down a quiet side street, past a locked white door.
Photographs collected over years, a clock keeping its own time above them.
Photographs collected over years, a clock keeping its own time above them.
Arm in arm on the cobblestones, caught mid-conversation.
Arm in arm on the cobblestones, caught mid-conversation.
He holds up the bag like a prize; she can't stop laughing.
He holds up the bag like a prize; she can't stop laughing.