Issue 05 (Print Edition) Dodho Magazine
Printed on 80# matte paper 22x28cm | 100 Pages
Dodho Magazine has become one of the most influential online magazines for contemporany photography present day.
We are committed to discovering and promoting the best photographers around the world. We live, breathe and move by the passion that awakes photography in all their ambits. Our print edition is highly respected among galleries and photography agencies all over the world. Many published photographers have experienced a great increase of interest by their work and have received interesting offers of agencies and galleries.
Sulaiman Almawash | Cover | I joined this field for the first time in this art 2003, when I was working (Graphic Desig- ner) in Television KTV. Through my search on web pages, I saw this art and I was impressed by it so much that’s why I was keen on learning it by myself and through internet websites and, I was one of the first artists who publish this art in the Middle East.I’m working on the program photoshop for long hours I used to pay attention for the small details in my work, because attention to small details gives accuracy to work. This art expends the ima- gination and creativity and translates what inside the artist and I enjoy when I do this art so I like to contribute in the spread of this wonderful art to people and push people to learn and experien- ce it. Each Artist has personality traits and unique style of design, Photo manipulation is one of the most creative art forms to come out of the digital age, blending real photos with imagination for a wonderful result. Photo Manipulation goes beyond mere enhancements or corrections.
Reza | Exclusive Interview | Reza is a person with his light and one of the best-known pho- tographers in the world, he has shot his camera capturing the beauty and war, for the National Geographic and other prestigious international media such as Time, Stern, Newsweek, El País, Paris-Match, Geo. Born in Iran in 1952 and of Franco-Iranian origin, Reza currently resides in Paris. Author of 30 books and recipient of many prestigious photography awards over the course of his career, following his passion for photography, he travelled more than hundred countries, during the last four decades witnessing and capturing through his camera the worst conflicts and catastrophes of humanity. Reza is a Philanthropist, an idealist and humanist, a photographer committed to the reality that surrounds him. Since 1983, Reza has been volunteered in several outstanding humanitarian projects creating the AINAWORLD in Afghanistan, a new generation NGO which trains people in information and communication through the development of educational tools..While pursuing his reportages for International Media, he continues to train and educate refugees, children and youths coming from difficult backgrounds on visual story telling through his organization “Reza Visual Academy”.
Marc Thirouin | My Little America | My Little America is an atmosphere, a whole world with its own characters… It’s a story, above all. Or actu- ally, it’s many stories, merging, intertwining and echoing each other. Firstly, it’s the story of an era. It’s the 50’s, its deep rock culture and its numerous codes. For the gentlemen, it was the slick hairstyles, black leather jackets, rolled up jeans, open neck shirts, worn without a tie… For the ladies, the chiffon dresses, folded up jeans, t-shirts or shortsleeve shirts… and not forgetting the iconic cars! It’s a subculture with a strong desire to assert itself, to ex- ist and live, characterized by two trends that meet and intersect: rock and hillbilly.Last but not least, cinema’s influence with James Dean, Marlon Brando and many others, spread aesthetics of incredibly perfect images, in which every detail has its meaning. It’s the story of the models, of course, impassioned and fascinating true Rockabillies, each with their own life stories…
Roberto De Mitri | Emily Dickinson | His love for photo- graphy finds affinity and correspondence in black and white analogue film, while he entrusts to the long exposure technique the task of giving meaning and semblance to his work.Where black and white guarantees depth and thickness to the photographic language, giving it evocative strength and emotional impulse, LE photography is important not only from the point of view of the aesthetic value, but also and especially for its mastery and inclination to create surreal and metaphysical scenarios, unreal places as if they arose from the depths of our unconscious. Through it is possible to explore a dimension that belongs not to the sensorial and rational experience, but to the experience of suggestion, of irrational and of the unreal. Seascapes and urban contexts they lose their objectivity and substance and become reflection of a secret and private condition of the soul. Therefore photography never assumes the function of providing a merely descriptive or aesthetically artificial reproduction of the real, but becomes metaphorical expression and manifestation of a feeling.
Manuel Armenis | Diamond Days | The quintessential trait of the munda- ne is, of course, its lack of spectacle. It is recognizable to us, familiar, in its plainness and with its non-event-character. Due to those alleged properties it is a world that gets all too willingly labeled boring and banal. At times we might even feel offended by its lack of sophistication. We believe to know the mundane well, but, unimpressed by its unremarkable nature, we usually choose to look elsewhere. And yet, as much as we try to ignore it, there remains this suspicion that we might not be able to evade it. An inkling that it might contain something that keeps us connected. The series Diamond Days is an exploration of the commonplace. We are shown snippets of the everyday, fragments of moments, ordinary situations. There is a playful touch to this world, a colorful lightness and warmth, a sense of joy; and yet, these unassuming landscapes seem to contain something else. Elusive. Layered. Ambiguous. A somewhat bleaker undercurrent which might pick up on the sensation of slight unease that we often associate with the ordinary.
Alessandro Barteletti | Going to space at 60 | The European astronaut Paolo Nespoli is the first 60-year-old man in history who left for a long term mission and in 2017 he went to space for the third time in 1962 John Glenn was the first American to orbit our planet and in 1998 at the age of seventy-seven he went to space once again, but only for ten days.In 2016 I started following Nespoli for a National Geographic Italia cover story during his last year on Earth with a training in the main Space Agencies Headquarters, documenting and photographing his personal and professional life in such a hard period, telling thus the Man and the Astronaut and how these two aspects of the same person coexist. In the past, the astronaut was an explorer, while today he works for scientists, engineers, biologists. He is often a guinea pig, too. In the 60s, training centers were secret and hidden places where the space conquest of America and Russia was studied, planned and tested, while now things have changed: every single astronaut independently from his country of origin has to train in all of them for missions on the International Space Station. That’s why I went to the European Space Agency (Cologne, Germany), Roscosmos (Star City, Russia) and NASA (Houston, USA) training centers to tell Nespoli’s story. How a man becomes an astronaut.
Sandro Giordano | In extremis | My photographs are “short stories” about a world that is falling-down. Each shot tells about worn-out characters who, in a sudden black-out of mind and body, crash with no attempt to save themselves. They are unable to, because of the fatigue of the everyday representation of living, oppressed by appearance instead of simply existing.We live in a distorted world of plastic surgery, which perpetuates stereotyped images that feed a preset marketing model. I believe that perfection is in imperfection. It is in strong contrasts, in frailty, and in the humanity that makes each individual different from the rest. I hide the face of my characters in order for their body to speak for them. This fall is the point of no return. There’s a saying “you must hit rock bottom to start over”. The fall of my characters is their hitting rock bottom, as they’ve reached their limit beyond which their false self cannot go. Each of them saves an object, they hold it in their hand and it symbolizes this falsification.