AmericaB&WConceptJeff Alu ; Between documentary and a semi-dreamlike state

My shooting style is very spontaneous. Very rarely do I plan anything out, and it’s the element of surprise and discovery that drives me forward. While I do enjoy traveling distances to obtain my shots,

My style hovers between documentary and a semi-dreamlike state. I’m constantly searching for what I like to call “clues.” These clues generally represent the initiation of questions that should be asked, rather than answers to pre-defined questions. I never have a set idea of what it is I’m looking for. I simply seek, occasionally finding exactly what it is I wasn’t seeking.

For me, that’s the time I learn something new about life: when I discover a new path, a new way of seeing, a new reason for continuing my search. After two years of college (Eastman School of Music) and needing some time off from school, I somehow landed a job at the Jet Propulsion Lab in Pasadena, CA, even though I was a music composition major. I did have a huge interest in astronomy, and I guess that did the trick. So I suddenly found myself working for Eleanor Helin’s asteroid project, the “Planet Crossing Asteroid Search” (PCAS), hunting for near-earth asteroids and comets. This involved using the 18” Schmidt telescope (actually a camera, not a telescope) at Palomar Observatory, for five or six nights each month. The job also involved quite a bit of dark room work, and I spent hours in the presence of noxious fumes. But, it was all very procedural, not artistic in any way, and I quickly learned that I would rather be elsewhere. Luckily, that was only one small part of the job. In a sense, what I really was was a data collector.

 Jeff Alu

One thing that certainly stuck with me from that time was the excitement of the discovery of something new, not seen before by anyone. This happened to me a number of times during my years at JPL, with the discovery of numerous asteroids, many of which could potentially strike the earth, and four comets. Two of those comets are still with us, hanging out in our solar system between the orbits of Mars and Jupiter, and two of them are gone forever, having visited our solar system only one time before being sent away by their parabolic orbits, never to return.

When my days at JPL were over (actually, they sort of faded out, rather than ending suddenly) I felt a bit of a void. I still craved the thrill of discovery. So I replaced my search for objects in our solar system (many of them five miles or more across) with the search for objects on our home planet, and my love for the desert tempted me to take long hikes in search of the unknown. Not an easy chore, since the surface of our planet had long-since been completely recorded via imaging satellite, sans ocean deeps. So I scaled down. I began to search for the small, the seemingly insignificant, the unspoken-for. And I continue that search today.

My shooting style is very spontaneous. Very rarely do I plan anything out, and it’s the element of surprise and discovery that drives me forward. While I do enjoy traveling distances to obtain my shots, I realize also that there are many, many great shots waiting to happen right next to me. I just have to stop, breathe, and observe to find them. That can be a challenge at times.

I don’t work with professional-grade cameras, and have never owned one. I use cheaper point and shoot cameras without any special lenses or filters. Rarely do I use a tripod. Photoshop is my “second camera”, and if I become Indiana Jones when I’m out shooting, I also become a calm Zen master when working in Photoshop. This is the time when I look at my “data collection” and infuse the photos with the emotions and visions I originally felt and saw at the time of the actual shoot. I’m usually disappointed when I first see the images which come out of my camera. Sometimes I don’t get to processing them for a time because they don’t live up to my original vision.

Over time, my style has evolved. In the beginning, back in 2000, compositions were very traditional, with level horizons and a sharp, uniform focus. After a few years of watching the work of the great cinematographers from the past, my compositions became more loose, with tilted horizons as if the image was selected randomly from a film sequence. I also very often shoot in a longer/wider format, much like a cinema aspect ratio. The desire to introduce a more organic quality into my images opened up free experimentation with blur effects. Now, I combine each of these techniques to varying degrees in my work, depending on what I’m trying to communicate in the final image. The recent introduction of color into my fine art work has also expanded my set of tools, and in certain cases, I find that color is the only way to go. [Official website][Book]
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PHOTO: © JO LAUREN | UNITED KINGDOM | ISSUE 10
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PRINTED EDITION
Interview with Samuel Feron; Published in our printed edition #16

DnaEuropeInterview with Samuel Feron; Published in our printed edition #16

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.
Interview with Marco Cheli; Published in our printed edition #16

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.
Interview with Lys Arango; Published in our printed edition #16

DnaEuropeInterview with Lys Arango; Published in our printed edition #16

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.
Interview with France Leclerc; Published in our printed edition #16

AmericaDnaInterview with France Leclerc; Published in our printed edition #16

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.
Interview with Nikolina Petolas; Published in our printed edition #16

DnaEuropeInterview with Nikolina Petolas; Published in our printed edition #16

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.
Interview with Michele Punturieri; published in our print edition #15

DnaInterview with Michele Punturieri; published in our print edition #15

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. 
Interview with Dimitri Weber; published in our print edition #15

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.
Interview with Ana Maria Robles; published in our print edition #15

AmericaDnaInterview with Ana Maria Robles; published in our print edition #15

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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Why Drag? by Magnus Hastings

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Kiss by the Hôtel de Ville: The second in which Robert Doisneau immortalized love

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Kiss by the Hôtel de Ville by Robert Doisneau; This photograph is one of the icons of eternal love. A young man stands in the street, surrounds his girlfriend with his arm and kisses her passionately in front of the Paris City Hall, stopping the world around him.
City of the world; This is New York City – Johannes Heuckeroth

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Those who beat drums for others by Pritam Dutta

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Durga Puja, the grand festival of  West Bengal is incomplete without the rhythm of Dhak. For every Bengali out there, waking up to the sounds of the dhak playing is one of the biggest symbols of Durga Puja.
Sonia Arata Director of Red Stamp Art Gallery

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Token by Mike Chaiken

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Omo Tribe; the other Ethiopia by Antonella Monzoni

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A piece of primitive, wild Africa. Men with Kalashnikovs driving herds of cattle along red-dirt paths to the banks of the river. Processions of women walking to the Omo River, returning with huge gourds filled with water balanced on their heads.
FEATURED STORIES
Wildlife photography; Land of Giants by Will Burrard-Lucas

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These photographs are part of a larger series documenting the elephants of Tsavo and the work of Tsavo Trust. The full series is published in a new book titled “Land of Giants”.
Under the sign of the rat; Roger the Rat by Roger Ballen

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Surreal, refined, disturbing: Roger Ballen has made a name for himself with his special eye for what is usually considered minor or outside, yet is nevertheless profound and touching.
Intimate portraits of animals; Behind Glass by Anne Berry

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Behind Glass is a collection of photographs made in monkey houses of small zoos throughout Europe. Anne Berry is recognized for her ability to create lyrical, intimate portraits of animals.
Fictional narrative photography; Birth Undisturbed by Natalie Lennard

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Birth Undisturbed is a fictional narrative photography series by Natalie Lennard, that brings scenes of natural childbirth into cinematic fine-art tableaux.
Japanese Aquariums by George Nobechi

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Japanese Aquariums is a journey into some of my oldest, most treasured childhood memories. Whenever I visited my grandparents in the small, northern Japanese city of Otaru, my grandfather, a high school teacher and an enormous influence in my life, would take me to the aquarium.
Greenland; Stories from the Sea by Camille Michel

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Greenland became politically independent from Denmark in 1979 and is slowly getting on the path to economic independency. The ‘ice country’ is currently facing the consequences of climate change.
Intimate diary; Jazz Notes by Giuseppe Cardoni

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It is a declaration of love by Giuseppe Cardoni, but also by an Italian region, Umbria, which has always hosted the most important jazz festivals and where the author took most of his photographs.
Guatemala; Until the corn Grows Back by Lys Arango

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Until the corn Grows Back; Lys Arango’s project was selected and published in our print edition 16. Criminal violence in Central America was something that happened very far away and that explained, according to the media, the gigantic caravans of migrants that from 2017 began to travel thousands of kilometres to reach the United States
Greatest jockeys; Fortza Paris by Marco Cheli

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Fortza Paris; Marco Cheli’s project was selected and published in our print edition 16. Over the years, until today there are many young Sardinians, specifically from Barbagia, who leave their island with the dream of becoming a jockey of the Palio di Siena.
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Photo by ©Ryotaro Horiuchi | Japan | Issue#14
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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Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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