Alex Bronfer: Photographing in the Lowest Place on Earth

Alexander Bronfer was born in Ukraine studied in St. Petersburg. After arriving to Israel, he lived in a kibbutz in South Israel where he fell in love with the Dead Sea region and desert. His main interest in photography is environmental and sustainability issues and our interaction with nature. Alexander is finalist and winner of multiple international and Israeli photography festivals.

The Dead Sea, nestled between Jordan to the east and Israel and the West Bank to the west, stands as one of the world's most remarkable natural wonders. This salt lake is renowned for its hyper-saline water in which you can’t sink. Its shores, lying at over 400 meters below sea level, mark the Earth's lowest elevation on land. The Dead Sea's unique composition of minerals, particularly its high levels of magnesium, potassium, bromide and its black mud are used for medical, cosmetic and healing purposes, making it a magnet for health and wellness tourism.

HM: Welcome, Alex. Let's start with your background. Could you share how your journey in photography began?

AB: Certainly. Despite my formal education, photography has been a passion of mine since childhood. My academic background might seem disconnected from the arts, but it's this blend of technology and creativity that defines my work. I've been drawn to the lens since I was about 10, and that fascination has only grown over the years.

HM: It's intriguing how you balance a high-tech career with your artistic pursuits. How do these two worlds interact and influence your photography?

AB: It's the interplay between these realms that fuels my creativity. I can't imagine being confined to just one. The high-tech world offers precision and innovation, while the arts provide a canvas for expression and emotion. This synergy is not just stimulating; it's essential for my work. It allows me to explore and convey complex emotions and narratives through my photography.

HM: Your work includes a series in Eastern Europe, notably in Romania and Georgia, areas close to your birthplace in Ukraine. What draws you to these regions?

AB: There's a profound connection to these places, likely rooted in my early years in Ukraine. These regions resonate with me, reminding me of my childhood. I'm particularly fond of the countryside and the authentic, unvarnished glimpses of life it offers. My series in Armenia, for example, is a deep dive into a culture and landscape that's both foreign and familiar to me.

HM: Moving to your acclaimed Dead Sea series, what inspired this project, and what message do you hope to convey through these photographs?

AB: The Dead Sea project is very close to my heart. It started with a spontaneous visit with my son and an encounter with a captivating scene – a woman sitting in the Dead Sea. That moment symbolized the essence of the project: the contrast between the timeless beauty of nature and the transient, often discordant, human presence. The project highlights not just the beauty of the landscape but also the environmental challenges the Dead Sea faces, like the rapidly receding water levels and the sinkholes affecting the region. I was captivated by the desert's stark, serene beauty. The region's unique atmosphere, possibly due to its rich mineral content and tranquility, offers a timeless quality that's both inspiring and introspective.

This project isn't just a portrayal of natural beauty; it's a narrative about the interplay between nature and human intervention. The contrasting imagery aims to reflect the beauty of the Dead Sea and the ecological challenges it faces. My upcoming book will encapsulate this duality, presenting the Dead Sea's splendor alongside the stark reality of environmental impact. It's a tribute to the region's natural majesty and a reflection on our role in its preservation.

HM: Your journey in photography is fascinating, particularly your transition from Nikon to Leica gear. Can you elaborate on how this change has influenced your work, especially in capturing the misty landscapes you're known for?

AB: Absolutely. The transition was significant. Nikon gear tends to yield a yellowish hue, which wasn't quite what I was after. Switching to Leica made a dramatic difference, providing the color fidelity I desired. However, capturing the perfect misty scenes is quite challenging. It requires very specific weather conditions – still, wet air without any wind. These days are rare, and predicting them is almost impossible, often leading to long, uncertain drives to the location.

HM: What is it about the Leica, particularly the sensor and lenses, that sets it apart for you?

AB: Leica's uniqueness lies in its sensor signature and the unparalleled quality of its lenses. The sensor, developed in Japan by Tower (Panasonic), offers a distinct feel you can't replicate with post-processing software. Leica lenses, especially the 21mm and the 50mm f/1.4, are exceptional. They capture images with a clarity and depth that's just remarkable.

HM: Shifting focus a bit, you've mentioned an upcoming exhibition.

AB: I was invited to exhibit my Dead Sea work at Leica Gallery in Italy which gives me the opportunities to showcase my work, and also provide platforms for meaningful discussions about photography with important influencers like picture editors , curators , collectors and also cement my relationship with Leica's Gallery that hopefully will open the doors to their global network of galleries, which is incredibly beneficial for any photographer.

HM: It's a profound narrative, shedding light on both the beauty and the plight of the Dead Sea. As you transition from this project, what's next for you? What new stories are you looking to tell?

AB: I'm currently exploring Jerusalem, trying to capture the city's essence in a way that hasn't been done before. The project is about the feeling of being in the city, especially the unique atmosphere of its sacred sites. The approach is quite different from the Dead Sea project, with a more immediate, raw feel, partly due to my choice of using an iPhone for this project.

HM: That's a significant shift. What prompted the choice of using an iPhone for the Jerusalem project, especially given your detailed work with Leica?

AB: It's mostly about the practicality and the unique capabilities of the iPhone in low light conditions. The streets of Jerusalem are a mosaic of different light sources, and the iPhone handles this mix surprisingly well, providing a certain authenticity to the images that traditional cameras might not capture as effectively.

HM: Your approach to photography is as thoughtful as it is innovative. Before we wrap up, do you have any advice for photographers who are trying to find their own path in this complex and ever-evolving field?

AB: The best advice I can offer is to stay true to what you feel and continue capturing it. It's about going out there, shooting, and then taking the time to reflect on your work. Printing your photos can be incredibly rewarding, offering a new perspective on your work. And remember, it's not just about capturing the moment; it's about the story you want to tell and how you choose to tell it.

HM: Thank you for sharing your insights and stories. Your work not only captures stunning visuals but also tells compelling narratives that provoke thought and emotion. Your work evidently transcends mere photography, offering a rich tapestry of cultural and environmental commentary. We look forward to your book and the powerful narrative it promises to deliver. Thank you, Alex, for this insightful conversation.