The Aftermath Print

October 7 war

Silver Award for The Aftermath

Click here to see The Aftermath series from Kibbutz Be’eri

The Aftermath opening event by Juliet Moses

President of the Jewish Council, June 22nd 2024

October 7. I would think that everybody in this room remembers what they were doing when they found out.  I was at home, it was 4.35 pm on that day, and I was sent a message on a WhatsApp group, saying “Israel under massive missile attack” with a map from the red alert app showing all the targets. I quickly got onto social media and the news – I think I first saw a white pick up truck with Hamas gunmen on the back cruising the streets of Sderot being filmed – and realized straight away that this was no ordinary attack. Let’s just pause at that for a moment and contemplate those words – no ordinary attack – their absurdity, their unfairness, and the normalisation of something no other state on earth would be expected to tolerate or show restraint over.

My messages became increasingly frantic. To my family: “I’ve seen images of people slaughtered in the streets. I feel sick.” And 5 minutes later “They’re killing them in bomb shelters. Paraglided in. It’s absolutely gruesome”.

I try to stay off twitter over Shabbat, but at 6.52pm I tweeted the map of the rocket attacks and said “There’ve been infiltrations of terrorists from Gaza into Israel as well. I’ve seen images I wont share of slaughtered people in the streets. This is extremely distressing and means all out war”.

I sat there glued to social media and the TV until late at night, with a feeling a total helplessness that this could all be happening right now and we could be watching it unfold, and there was nothing that I could do. I went to sleep with a feeling of guilt, terror and dread, and woke up to news that some 700 people had been killed. For two weeks after that I felt constantly shaky and sick to the stomach. I know that was nothing unusual.

Why did we feel so shaken to the core?  Why did we, and do we still feel this deep trauma, pain, shock, and grief, as if it is still October 7, as if time has stood still?

It wasn’t just the catastrophic intelligence failure that led to this massive attack, that shook our confidence, some might say our complacency or even arrogance, our belief in Israel’s ability to outsmart its enemies and protect itself, that saw homes being violated and desecrated, in a way that we thought would not happen anymore, and most certainly could not, would not happen in Israel.

It wasn’t just the massive scale of the attack, over 1200 people killed, over 250 taken hostage.

It wasn’t just the indescribable, medieval debauchery, degradation and depravity of the attacks, attacks that no label really does justice to. They were all of and more than a terrorist attack, a pogrom, an invasion, a jew hunt, an act of genocide. How do you describe the barbaric brutality that causes people to just disappear? Only this month, Israeli authorities identified the remains of Dolev Yehoud, a 35-year-old medic from the Nir Oz kibbutz, who it was believed had been taken hostage. Multiple forensic field tests had failed to reveal any DNA. It took 8 months to identify him. His fourth child was born on October 16. His sister, Arbel Yehoud, remains in captivity.

It wasn’t just the hostages who were taken and those who remain in captivity, to be used by Hamas as bargaining chips and sex slaves, and whom the word has allowed to be used as bargaining chips and sex slaves, and has abandoned, and tried their best to forget and actively remove any reminder of and obstruct us from rescuing and vilified us when we do. The Red Cross has not visited them once.

It wasn’t just who participated on that day – so-called civilians, journalists, members of UNRWA.

It wasn’t just the bloodlust, pride and jubilation of those who participated somehow paradoxically coupled with a deadeyed coldblooded mechanical execution – I use that in both senses of the word. The ecstasy of the mob in Gaza as the hunters return with their bounty, the mutilated body of Shani Louk splayed on the back of a truck, spat on and hit with planks, greeted with ecstatic cries of Allah Akbar. The recording of the son who rang his parents with great excitement to announce that he had killed ten Yahoud. The terrorist who shot a father dead in his Kibbutz Be’eri home, and is caught in the house’s security cameras as he walks into the kitchen and grabs a soft drink out of the refrigerator and drinks it, as the two young sons sit there, one saying “Papa is dead. Papa is dead. Why am I still alive?” while the other sits there with one eye gouged out.

It wasn’t just the livestreaming and gopro-ing for the world to see, the granddaughter who discovered her grandmother’s murder when her assailant filmed it on her phone and posted it on her Facebook wall. At least the Nazis – and let’s stop and think about those words too and what it says that we might ever use them – at least the Nazis tried to hide, went to great lengths to hide, the evidence of their crimes. The calculation that Hamas made was that the humiliation, pain, terror and psychological torture their recordings inflicted would be worth it, and outweigh any outrage, any damage to their cause, and you know what? They were right.

They were right, because there are those around the world, including in New Zealand, including academics and politicians, who despite all the evidence, are willing to infantilise, trivialise, justify, defend, and celebrate Hamas and its evildoing. But they were also right because there are those who reject the evidence of their eyes and ears.

By 16 October, I understood that we were already dealing with October 7 denialism. My younger son was at his last Uni lecture for the year on Islam, as it turns out, and was told by a young woman in a hijab that the Nova festival attack was “Zionist propaganda”. Some time later my mother engaged with an anti-Israel protester and was told the footage of that day was all AI. In this war, even when a photo or footage isn’t AI-generated, and a lot have been – we have all seen the 6-fingered Gazan boy – the possibility that it could have been, sows confusion and doubt.

Perhaps worst of all is the denial that rape was used as a tool of war on that day, despite countless eye witness testimonies, and forensic and other evidence that I won’t discuss. Apparently progressive people, who a few years before were happy to destroy a man’s career based on a rumour that he touched a woman’s knee without her consent because #believe all women, suddenly found themselves disbelieving substantial, undeniable, evidence of unspeakably savage rape and sex-based violence, as some of us saw on Wednesday night when we watched Sheryl Sandberg’s powerful documentary Screams before Silence.

Of course, there has been a campaign to erase and appropriate our history for a long time – the Temple is built on top of and its existence denied, we are told Jesus was Palestinian, our sacred historical sites are recognised and protected at the UN as Muslim sites. But denial of our trauma is much more than just delegitimization – though that is bad enough. We must be clear that it is integral to the genocidal strategy that Hamas and the Iranian regime is committed to, and that people around the world, unwittingly or not, are enabling. Denial is an inversion of reality and morality that strives to reshape history in order to demonise victims and rehabilitate the perpetrators.

As the late Armenian historian Professor Richard G. Hovannisian said “Complete annihilation of a people requires the banishment of recollection and suffocation of remembrance. Falsification, deception and half-truths reduce what was to what might have been or perhaps what was not at all.”

In his book “Crusade in Europe” Eisenhower wrote about the liberation of the camps at the end of WW2  “I have never felt able to describe my emotional reactions when I first came face to face with indisputable evidence of Nazi brutality and ruthless disregard of every shred of decency. Up to that time I had known about it only generally or through secondary sources. I am certain, however that I have never at any other time experienced an equal sense of shock. I visited every nook and cranny of the camp because I felt it my duty to be in a position from then on to testify at first hand about these things in case there ever grew up at home the belief or assumption that `the stories of Nazi brutality were just propaganda.” How prescient that was.

This is what Ilan has done, and why it is so crucial. He has chosen to testify. He travelled to Israel, and on February 7, 4 months to the day, became one of few people to get access to Kibbutz Be’eri, to bear witness to the devastation of that darkest of days. He has shown great commitment in doing so, and in putting this exhibition together, at personal cost and sacrifice.  It seems there are many people who just don’t want to know or see.

But we have to keep trying, all of us, to share the truth, because it can make a difference. According to a Palestinian poll released on June 12, published by the Palestinian Center for Policy and Survey Research, 90 percent of Palestinians have not seen videos from that day, which is interesting given they seem very connected to social media and the amount of videos that they seem to record and circulate themselves. Importantly, however, the results also show that those who watched the videos are about fifteen times more likely than those who did not, to believe that Hamas committed atrocities on October 7.

I can think of three main reasons why preserving, recording and communicating the truth is vital.

First, to honour the victims and survivors. As Elie Wisel said: For the survivor who chooses to testify, it is clear: his duty is to bear witness for the dead and for the living. He has no right to deprive future generations of a past that belongs to our collective memory. To forget would be not only dangerous but offensive; to forget the dead would be akin to killing them a second time.”

Second, as Wiesel alludes to, our collective memory is who we are as a people. The verb Zachor (“remember”) is repeated everywhere in Jewish ceremony and liturgy: under the wedding canopy, during Seder, in the Ten Commandments, during Shabbat, in siddurim. Now, October 7 is forever embedded into our collective memory and will be handed down the generations as part of our story. And we must be better at telling our story to the world.

Third, we must stand for the truth for the sake of truth itself, because open, free and liberal societies, which are the societies that Jews thrive in but are also the best for civilisation itself, depend on the truth. If all we have is feelings, moral relativism, and narratives, we as a society will be destroyed.

So I thank you all for being here today in person or online to bear witness. Remember that, while we are not physically fighting for Israel, we can play a critical part in the battleground for the truth, to combat the falsification, distortion, revision and erasure of history and to be the guardians of our collective memory. And at this moment in time for the Jewish people, I would suggest that it is a moral necessity for us to do so, and to play our part in continuing the most inspiring, unbreakable story of an ancient people who have survived and stayed true to ourselves for over 3000 years against all odds.

Am Yisrael Chai.

f11 Magazine article: Faces of Jerusalem

Black, White & Colour

Interview

Faces of Humanity

Faces of Humanity is a documentary collection with little or no changes to the actual scene. I asked people to look straight into my camera, so these are not candid photos. The strength of this series is in giving viewers a rare opportunity to connect with people in their natural environment. This diverse group of people serves as a timely reminder that, despite our many cultural differences, we can unite as a community through the power of photography.

This is a celebration of our shared values: hard work, the importance of family, and caring for each other as humans. I hope that through these photos viewers learn more about people with different backgrounds from around the world: Ruanda, Morocco, Tanzania, Cairo, Jerusalem and New Zealand. The show offers opportunities for people to contemplate, absorb, and increase their awareness of the complexities of human experience. Each photograph reveals an individual with a story that has shaped their life.

We connect with others by making eye contact – reading their expressions, feeling their emotions and getting a glimpse of their souls. I want viewers to form meaningful connections with these people: to see them as human beings, not simply subjects in front of a camera. I purposely created portraits that allow viewers to make direct eye contact with each person, so visitors can form emotional connections with these individuals.

In sharing this portfolio, I encourage viewers to show empathy: to accept others and to recognise the value of cultural diversity. We would all experience an enhanced sense of community if we took the time to appreciate interactions which allow us to discover the world beyond our familiar boundaries. We are all wonderfully unique, yet, at the same time, we are deeply similar.

I am presenting these photographs in timeless monochrome, to ensure consistency and flow of the series amidst the chaos and clutter of the busy environment. The portraits are crisp and sharp, to allow the details to inspire the imagination and to evoke emotions. My aim is to create an authentic portfolio of diverse individuals in a foreign land. My goal is to tell their stories using a clear narrative style and enduring quality.

Portrait Photographer Auckland

Tires – Morocco 

Portrait Photographer Auckland

Clyde Scott – Auckland

 

Portrait Photographer Auckland

Frank – Auckland

 

Barber Shop New Zealand

The barber – Auckland

 

Faces of Cairo

Shish Kebab – Cairo

 

Travel Photography

Knife sharpener – Morocco

 

Faces of Humanity

Man with a Hat – Jaffa

 

Portrait Photographer Auckland

Shells – Taranaki

 

Portrait Photography Auckland

The Library – Auckland

 

Eal

Boy and his Eel – Taranaki

 

The Fish Merchant – Akko

 

The Counter – Akko

 

Blue Collar – Jaffa

 

Dead Chickens – Morocco

 

The Garment Merchant – Jerusalem

 

The Paper – Jerusalem

 

Souvenirs Galore – Jerusalem

 

The Fist – Jerusalem

 

MAGGI – Morocco

 

Bric-à-brac Rwanda

 

Tutsi Girl – Rwanda

 

Men with canes – Rwanda

 

Woodwork – Rwanda

 

The Barber – Morocco

 

Arthur was sitting and waiting for customers in the same barber shop that his father established 60 years ago in Melbourne. It took three visits to the store and $100 to convince Arthur to have his portrait taken. I then had my haircut… AIPP Silver with Distinction Award.

 

Faces of Humanity

Boys and Cart – Jerusalem

 

Faces of Humanity

John and Rebecca – Auckland

 

Faces of Humanity

Queen Deemi – Auckland

 

Faces of Humanity

Just Bagels – Jerusalem

 

Faces of Humanity

Essential Oils – Jerusalem

 

Faces of Humanity

Wayne and Jennie – Auckland

 

Faces of Humanity

Sitting on a Cart – Cairo

 

Faces of Humanity

Man with a Beany – Jerusalem

 

Faces of Humanity

Backgammon – Jerusalem

 

Man with a Ring – Alexandria

 

Faces of Humanity

KAKAO – Jerusalem

 

Faces of Humanity

SINGER – Jerusalem

 

Faces of Humanity

Father and Son – Jerusalem

 

Faces of Humanity

Three Brothers

 

Faces of Humanity

Hubble-bubble – Alexandria

 

Faces of Humanity

Bananas – Cairo

 

Faces of Humanity

Two Men – Cairo

 

Faces of Humanity

Sitting by the Cross – Alexandria

 

Faces of Humanity

Scales – Jerusalem

 

Faces of Humanity

The Department Store – Jerusalem

 

Faces of Humanity

Money Changer – Jerusalem

 

Faces of Humanity

Boy with a cart – Jerusalem

 

Faces of Humanity

Souvenir Shop – Jerusalem

 

Faces of Humanity

Mono Rhino – Jaffa

 

ITANGA – Rwanda

 

Dying the Wool – Morocco

Magazine Shop – Jerusalem

 

Delinquents – Auckland

 

Just Beads

 

Man with a leather Jacket – Auckland

 

The Donkey – Morocco

 

Brass and Copper – Morocco

 

Shoe Shining – Rwanda

 

The Fly – Egypt

 

Egyptian Presidents

All the presidents – Egypt

 

Digger

Man and his Dog – Auckland

 

Standing Proud – Morocco

 

Cowhide – Tanzania

 

The Hut – Tanzania

 

Timid – Tanzania

 

Standing in the Rain – Tanzania

 

Joy – Tanzania

 

Maasai Women – Tanzania

 

Sewing Machine – Cairo

 

Sitting by the hut – Tanzania

 

Sitting Down – Tanzania

 

The Look – Cairo

 

Shoe Laces – Cairo

 

The Maasai – Tanzania

 

Man with an Apron – Morocco

 

 

Focus on community magazine

June 2022 edition

Documentary Photo Exhibition

Faces of Humanity

Faces of Humanity exhibition clip

 

Artist Statement Faces of Humanity Exhibition Faces of Humanity Exhibition Faces of Humanity Exhibition Faces of Humanity Exhibition

Faces of Humanity exhibition opening event

Faces of Jerusalem Artist Statement

Beggars and scholars, slaves and warriors have all walked the narrow streets of the Old City of Jerusalem. In early 2015, Auckland Photographer of the Year Ilan Wittenberg set out to capture the stoic nature of its inhabitants. The result is a compelling collection of portraits – ‘Faces of Jerusalem’ – which will go on display at Te Uru Waitakere Contemporary Gallery.
Born in Israel, Ilan has visited the UNESCO World Heritage site on numerous occasions. However, it was during a recent family trip that the idea to produce a portfolio of portraits (for his fellowship application to the Photographic Society of New Zealand) first took form. Not wanting to hold up the family, Ilan returned by himself in January 2015 and spent days exploring the winding, cobbled streets and tiny, dimly lit shops of the Muslim, Jewish, Armenian and Christian quarters.
While his collection of striking monochrome images captures a range of people going about their daily lives, it was the city’s merchants that Wittenberg was particularly drawn to. “Many people are not happy, you can see that,” says Ilan, “but that’s for good reasons: the economy is down. There are very few customers and very little foot traffic because there is a lot of stress in the streets. Wars, religious tension and the ongoing political conflict scare the tourists away.”
Wanting to create quick rapport and a relaxed environment, Ilan introduced himself as a New Zealander (which he has been since arriving in the country in 2001). “Oh Kiwi, welcome” would be the typical response, which cleared the opportunity to create a photograph. Where language permitted, he engaged his subjects in further conversation, to produce more engaging portraits than candid documentary photography usually does. “These photos were taken without a flash or a tripod, using ambient light only. I chose to present the prints in monochrome to eliminate distracting colours and help focus the viewer’s attention on the people, their body language and their expression. The sepia tone also provides a timeless atmosphere to the images, which reflect the rich culture and turbulent history of Jerusalem.
His journey as a photographer started relatively recently in 2011, but Ilan has already been given the honour of Fellow of the Photographic Society of New Zealand as well as a Master of the New Zealand Institute of Professional Photography. Selected prints from ‘Faces of Jerusalem’ portfolio contributed to the body of work that won Wittenberg the prestigious title of NZIPP 2015 Auckland Photographer of the Year. The collection also took first place in the Documentary Book section of the 2015 Moscow International Foto Awards, a competition that attracted entries from 84 countries.
‘Faces of Jerusalem’ was exhibited at Te Uru Gallery from February 20 to May 1.
In August 2016, Ilan won the title Travel Photographer of the Year by the Cathay Pacific Travel Media Awards which are organised by Travcom (New Zealand Travel Communicators) to celebrate excellence in travel writing and photography.
The photography awards were judged by a panel of three; Rob Lile, director of One Shot image library, Jenny Nicholls, Art Director for North & South magazine and Tessa Chrisp, past winner of the Cathay Pacific Travel Photographer of the Year Award. The Travel Photographer of the Year is judged on the entire portfolio of published work.
Rob Lile said: “This year a clear and unanimous favourite appeared amongst the many images put forward for the scrutiny of a tough judging panel. While there were many images that caught our eye and invited second and third viewings, one series stood out, indicating the work of a master visual storyteller. Ilan’s images transported us to centuries-old locations to examine modern lives intertwined with layers of time. They displayed patience and sensitivity as a storyteller becomes immersed in the worlds of people going about their ordinary daily lives, as unobtrusively as possible. His presence is accepted; images are not overtly posed nor awkward and each subject is entirely comfortable with the interaction. The creative journey continued through careful post production, printing and mounting, all reflecting the skills of a professional determined to present his vision as perfectly as possible. This was a powerful series that will live in our minds for a long time.”

Additional Links

In April 2016, Faces of Jerusalem was featured is issue 53 of the prestigious f11 Magazine with 38 pages covering the portfolio.
Check out D-Photo magazine article from September 2016: Within the walls of the Old City
Listen to Standing Room Only with Lynn Freeman (10’51”): RNZ Interview
Photos from the exhibition Opening Event

Faces of Cairo exhibition layout

Gallery Layout

Dome of the Rock

Dome of the Rock

Temple Mount – Dome of the Rock – Al-Aqsa Mosque – The old City of Jerusalem

located on the Temple Mount in the Old City of Jerusalem, the Dome of the Rock is an Islamic shrine at the center of the Al-Aqsa mosque compound, and one of the three holiest Islamic shrines in the world. It was initially built in 691 on the site of the Second Jewish Temple and destroyed during the Roman Siege of Jerusalem. The original dome collapsed in 1015 and was rebuilt in 1023. Being one of Jerusalem’s most recognizable landmark it is a UNESCO World Heritage Site. According to belief, the rock inside the mosque is the spot from which the Islamic prophet Muhammad ascended to Heaven accompanied by the angel Gabriel. Usually packed with tourists and locals, I was the only one to visit the site early morning when the forecast was for snow. It was so cold that there was no one on site and I could get a beautiful reflection off the wet marble stones just before the storm.

Boy with a Smoke

Faces of Cairo

Boy with a SmokeBoy with a Smoke

Faces of Humanity

The Maasai

The Maasai People

Bronze medal for the Maasai at the 2021 North Shore National Salon of Photography – Digital Open category

Interview

Faces of Cairo exhibition setup

2021 Portraiture Seminar

Award winning professional photographer Auckland
About the event
Join portrait photographer Ilan Wittenberg on a three hour seminar on documentary travel photography. Wittenberg is NZIPP 2020 Auckland Photographer of the year and the Editorial prize winner of the 2020 Sony Alpha Awards. Wittenberg was a finalist at the 2020 NZIPP Travel category and a finalist of the STORIES category at the AIPP 2021 Silver Lining awards.

When
Saturday, May 15, 1-4 pm, $49 admission fee, Register Here

Where
Studio One Toi Tū
Ponsonby Road, Ponsonby, Auckland.

What’s included

We will review travel photography from CairoJerusalem and Morocco. During this seminar participants will have plenty of opportunities to ask questions regarding Ilan’s camera technique, equipment, software, post processing, creating a portfolio, exhibiting and entering the Awards. Wittenberg will also talk about how to engage people in a foreign land when asking to create their portrait and how to use photos for storytelling.

You will also be able to try different printing papers courtesy of EPSON who will have an A3-A2 size photo printer available for us. You are welcome to bring your favourite 2-3 images on a USB or an SD card (JPEG format) so these can be printed during the seminar. Bring an empty cardboard tube so your print will travel home safely.

 

Techniques covered

  • Travel Photography
  • Equipment
  • Posing
  • Lighting
  • Composition
  • Selecting the right lens
  • Camera Settings
  • Engaging your subject
  • Post processing
  • Creating a portfolio
  • Entering Awards

What to bring 

  • SDHC memory card
  • Hi resolution JPEG images that you’d like to print on EPSON’s wide format photo paper
  • Cardboard tube for your new prints

Portrait photography Q&A seminar