ConceptEuropeAtonal Portraits by Marco Annaratone & Hanni Cerutti

The project challenges two established norms, i.e., the invariance of color temperature and of exposure across a picture (beyond burning and dodging, of course). We call this technique “photosequencing.”

The project challenges two established norms, i.e., the invariance of color temperature and of exposure across a picture (beyond burning and dodging, of course). We call this technique “photosequencing.”

Turning constant parameters into variable ones to explore new dimensions in expressiveness is nothing new in art. In fact, there is a most appropriate musical parallel in atonality. Just as atonal music modulated (the rigidity of) tonality, we modulate (the rigidity of) color temperature and exposure with photosequencing. The parallel with music has not happened by chance, as contemporary classical music is one of the major sources of inspiration of Twelve Tone Photography. Indeed,  its very name — twelve-tone music was the forefather of atonality — pays homage to one of its major sources of inspiration.

In spite of its revolutionary thrust, atonality may have produced a corpus of music that will survive the filter of time with considerable difficulty. In fact, we believe that an invaluable contribution may not be in its very own output but in breaking barriers, thus providing the preconditions for new music to be created.

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Steve Reich once wrote:  “The reality of cadence to a key or modal center is basic in all the music of the world (Western and non Western). This reality is also related to the primacy of the intervals of the fifth, fourth, and octave in all the world’s music as well as in the physical acoustics of sound. Similarly for the regular rhythmic pulse. Any theory of music that eliminates these realities is doomed to a marginal role in the music of the world. The postman will never whistle Schönberg. This does not mean Schönberg was not a great composer — clearly he was. It does mean that his music (and the music like his) wlll always inhabit a sort of “dark little corner” off by itself in the history of all the world’s music.” [1]

Photosequencing will surely end up inhabiting that “dark little corner off by itself”: its strong chromatic signature drastically limits its applicability. Indeed, our plan is to use photosequencing with “extreme prejudice,” and always in very specific (and restricted) situations.

It would be presumptuous of us to compare photosequencing to atonality, being the intellectual depth of the two so immensely different. Photosequencing, though, shares with atonality the rejection of entrenched norms that have no rational justification except for the — undoubtedly formidable — strength of tradition.  To put it in a different and somewhat direct way (and similarly to how classical music evolved one hundred years ago as a result of the break up of tonality): what’s the point in photographing with digital technology in the same way we have done in the past 150 years with film? Isn’t digital technology giving us the opportunity to explore new stylistic paradigms? Don’t we have the intellectual obligation to explore them?

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Photosequencing’s rigorous manipulation of the image (a formal introduction, for those interested in the technical details, can be found on our site) clashes in this project with its content: store mannequins, a trivial ode to make-believe and mass-production. Photoequencing here serves the purpose of having the viewer concentrate on the mosaic-like quality of the visual experience and disregard somehow the main subject. Thus, a cursory glance of a picture may often trick the viewer into believing that the subject is in fact a real model. Real and imaginary, flesh and plastic, get all mixed together in a tribute to consumerism.

Fake and stereotyped beauties are presented as chain store products with barcode and plastic wrapping. Far from being a freak experiment or a trivial Photoshop trick, photosequencing serves the purpose of better comunicating “what was really in front of us” — for better or worse — to the viewer.

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Much attention has gone into the actual implementation, to be consistent with the philosophy behind the project. Prints have been made using dye-based inks on a Pictorico Pro Hi-Gloss White film, a truly unique material with a strong plasticky look and “in-your-face” chromatic signature. Dibond backing and bi-adhesive mount of plexiglass in front.  The latter has been used to put between the viewer and the artifact a plastic shield. Finally, a frame built with Legoä bricks and glued over the plexiglass surrounds each image, as shown in the video on our site. The Legoä frame undoubtedly introduces a sense of childish play in the representation of the artifacts: ok, let’s be serious, but not “that” serious, c’mon …. Here again we wanted to convey the feeling of a “synthetic reality.”

Finally, all Twelve Tone Photography prints are unique artifacts. We strongly reject the concept of multiple copies, limited editions, and the like. Pictures come in two sizes, depending on their form factor: either 45.5cm x 30.5 or 35.5cm x 30.5cm. [Official Website]

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[1] Steve Reich, Writings on Music 1965-2000, Edited by Paul Hiller, Oxford University Press, 2002, p.186-187

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PRINTED EDITION
Interview with Samuel Feron; Published in our printed edition #16

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Samuel Feron has been photographing Nature for 2 decades, exploring remote and sparsely habited areas all over the world. He tries to go beyond what the eyes first see, assuming that Nature has secrets in itself.
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DnaEuropeInterview with Marco Cheli; Published in our printed edition #16

I think that Dodho provides a fantastic opportunity for those who want to be recognized by an informed public and by their peers. Seeing my work in the pages of Dodho, well, it is the most exciting thing that has ever happened to me, and I have photography to thank for it.
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Time, dedication, and the right rhythm combined with a human approach make the work of Lys Arango one of the most truthful and inspiring photo testimonies of indigenous people.
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Canadian Travel photographer France Leclerc tries to find this commonness with joy showing sweet observation through fresh eyes to portray ethnic group communities the world seems to ignore.
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I work in several techniques, but what you are reffering to in ’Tale of the Blue Pear’ series  are mostly digital collages combined with digital painting. I also paint in traditional techniques but that is done on canvas or hard board.
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This work is somewhat impromptu because it has been carried out, so to speak, on the spot and at the moment. Street photography pure, trying to capture the most interesting moments and faces in the places I visited. 
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DnaEuropeInterview with Dimitri Weber; published in our print edition #15

I like the colours on my pictures to pop a bit. To be as natural as possible, while catching the eyes of the people looking at my pictures. So, I enhance some of those colours during my editing process, mostly to give them a homogeneous look that suits my style.
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There is no doubt that women play a leading role, but they are still a patriarchy and all decisions are made by men who meet in assemblies to discuss everyday issues. The pipes are carved and armed by them and generally match their ornaments in both the Toposa and the Didinga.
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Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
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