conflicted relationship with Israel and Canada,
and the notion of ‘home’. Having relocated
throughout her youth, Zilberberg continues to
globe trot for her work, often relying on exotic
landscapes for her shooting locations.
“The challenge is to get the lighting and
weather right,” she explains to INSPADES,
adding that the best time to shoot is at sunrise
or sunset. “Sometimes it can be difficult if it
rains, or if it’s too sunny. If the weather is not
right, then I’ll go back on a different day.” For
the right shot, time is a worthy investment.
When it comes to her creative process,
each work is unique and can sometimes take
a year to deliver. “I try to learn as much as
possible during that time,” Zilberberg divulges,
“engaging with art galleries, history, podcasts
and traveling.”
A fter much research for a project,
Zilberberg’s background in fine arts plays a key
role in sketching her projects, or simply testing
different images digitally to see if envisioned
manipulations are feasible.
Next, Zilberberg tests the desired location
before inviting the model for the official shoot.
For some projects, she will shoot the model
and other elements, such as props or setting,
on separate occasions; they are pieced together
digitally during post-production.
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inspadesmag.com