DodhersThe Anonymous Artists by Raju Peddada

By what mechanism do I see beauty in decay or distress? Why does a defaced-distressed message incite me? And, how can defacement delineate the mundane mess, from aesthetic magic? The answers may reside in the cognitive theory, which, for the most part, is concerned with the development of an individual's thought process

Cognitive Photography

[Preface: They come like the mutated Mongols, on their vehicles, with their ladders, scrapers, brushes, glue and the posters, after midnight, when the world slumbers, to create, by destroying. And they proceed, methodically, to scratch, hack, scrape, cut, tear and peel away the competition, without compunction, to space their posters. In their quick furtive action, they unintentionally refresh and recycle the palimpsests. In doing so, they renew the space to renew the interest, and intrigue twisted and tranced aesthetes like me, giving us the opportunity to plumb the labyrinths of urban aesthetic. These nocturnal vectors of oxymora, have no idea of the brilliant paintings they leave behind!]

“The real voyage of discovery consists not in seeing new landscapes, but in looking with new eyes.” – Marcel Proust, 1871-1922

Becoming Cognitive

By what mechanism do I see beauty in decay or distress? Why does a defaced-distressed message incite me? And, how can defacement delineate the mundane mess, from aesthetic magic? The answers may reside in the cognitive theory, which, for the most part, is concerned with the development of an individual’s thought process – and how this process influences how we observe, comprehend, and interact with our surroundings. This, invariably, leads me to cognitive psychology, a significant part of psychology, regarding the various mental processes, like thinking, perception, learning, visual sedimentation and memory, in shaping our internal sensory stimulation and consequently our external output: our reaction and behavior, thereafter – something congruent with behaviorism.

Dr. Gianluca Consoli, a cognitive scientist with the Sapienza University of Rome, and author of many white papers on aesthetics such as, “A Cognitive Theory of the Aesthetic Experience,” proposes that in traditional philosophical aesthetics, the aesthetic experience warrants a specific attitude, a game face of sorts, ready to imagine and react. Like going to a museum with an exclusive mindset to appreciate art. But, shouldn’t that be a constant everyday attitude? Why can’t we live with an aesthetically conditioned and ready psyche? If we are always primed for beauty, unlike at exclusive-specific times only, we tend to observe beauty routinely, even in the most unlikely places.

Dr. Consoli, argues that today, cognitive sciences serve up a rewarding set of empirically corroborated concepts, in making us understand and adapt the notion of naturalistic and automatic integration of this aesthetic attitude in our comportment for that wholesome, non-discrete experience of beauty. To some it comes naturally. I was inexplicably fortunate to have such a radar early in life, or else, I could never have enjoyed Old Delhi, whose existential textures and decay had been an evolving drama for centuries. As a teenager, my peregrinations in Old Delhi, besides equipping me with sensibilities, gave me the same joy as drawing-painting. Orhan Pamuk, the 2006 Nobel Laureate for literature, in his piercing masterpiece, “Istanbul” addresses this very aesthetic attitude Dr. Consoli professes. A must read for every photographer out there. In it, are pictures by one of Turkey’s great photographers, Ara Guler.

Cognitive photography – in other words is photographic syllogism. It is the assimilation and sedimentation of scenes and conditions with the detail of textures, urban or rural, deep into our long term memory and psyche, that sensitizes us to environmental or visual anomalies. So much that when we are thrown into a new environment, the unconscious corroborates with it, and we become aware of what others may not be able to observe or discover. This fetches me to the logic that our conditioning cues us to what we observe, and therefore, what we create. If we can observe, we can create. The more esoteric our faculty is, the rarer will be our discovery. Here’s the distinction between seeing and observing: Sherlock Holmes: “Watson, we come here everyday, how many stairs are there to our office?” Watson: “Oh, the stairs… have no idea… haven’t paid attention to it.” Holmes: “Aha, you know the stairs are there, so you see them, but if you know how many stairs there are, that’s observation.” That’s insight, into glazing through life versus observing deeply.

Can observation lead to creation? Absolutely! Isaac Newton seeded modern physics after his observations. Pythagoras observed a metal smith’s rhythmic hammering and realized the symbiosis of music and mathematics. How about Galileo, Copernicus and the Wright Brothers?Cognitive Reasoning helped the aforementioned greats, but, Cognitive Abstraction is a mimetic process, by which artists realize beauty in various aesthetic forms like, 1. lyrical, 2. epical or 3. dramatic. All such trials are influenced by the environmental and empirical factors.

“The artist has ‘twin faculties, a selective faculty and a reproductive faculty.’ He has to ‘disentangle the subtle soul of the image from its mesh of defining circumstances’ – to catch what he elsewhere calls an epiphany – and to re-embody it in the most suitable artistic circumstances.” – Samuel Louis Goldberg, Literary Criticism, “The Classical Temper,” A study of James Joyce’s “Ulysses.”

Paris has been a cliché for the arts for as long as we have known it. But this cliché has several facets of authenticity undiscovered and unexplored, that lurk in the shadows of grand edifices that house all the art collections. While other aesthetes wandered around dazed past the Cezannes and the cafes, I wandered around in amazement at this ignored feast: “Art by the Anonymous.” This unaccounted atmospheric outdoor gallery in Paris, in the summer of 2014, afforded me a panoply of out of the norm experiences that I found infinitely telling and aesthetically electrifying. No studio space was necessary for what I was about to do – indulge in observation, to create and possess it. This brings me to my Old Delhi conditioning, without which, cognitive photography was not possible. It’s visual logic – deductive visual reasoning that sequences conditioning to observation and comprehension, then on to creation and possession. This is work, worthy of sharing with you all.

The Anonymous Artist

The decay of material surfaces is an aesthetic ecstasy privy only to the most visually sensitive. As you panned across peopled crossings, on rue de St. Germain or rue de Rivoli, rue de LaChappale or the area of Pigalle, the walls, at eye level appear like bold murals, in nuanced brush strokes of vivid pigments, from a distance. Many appeared like abstract paintings, distressed, weather beaten, in vertical or horizontal tangle and jumble of color in every size that can be imagined. This was art, not by a specific artist, but rather, by the anonymous collective. Let me explain. The municipality of Paris, designates specific areas in the urban setting for promotional posters. Individuals, organizations, and bands compete viciously for these spaces, therefore, once a poster is up in that space, it’s life was limited only by the arrival of the next competing promoter, who would proceed to destroy the current one and post his over it. Over time, the surface became weathered, pared, scarred, ripped, scratched in the action of the new overlapping the old, and the old peeking from the periphery, around the new. This was art at it’s best, without the pretense, applause and the speeches. The artist(s), rather than basking and waiting for credit, escaped urgently into anonymity.

This art is borne off of wars, story wars, at the behest of the collective, utterly devoid of any mitigating circumstances. But, it’s an explosion of violent and exigent color: obfuscated or incomplete stories, that flip like quick slides on a screen. And this accidental festival served up cryptic symbols, metaphors, puns and arresting anacoluthic narratives. Art, by the anonymous whole, as an orgy of competitive annihilation, induced by a premium for space – and, painfully temporal. I saw the walls by the Sorbonne, near the Pantheon, and realized that no one individual can imagine and create such wanton abstraction, laced with violent irony: creation by destruction, and destruction to create. Aesthetes have discovered many a street artist, like Banksy and Jean Michel Basquait, but they somehow missed this enigmatic visual typology. The anonymity is the identity of this particular artist — anonymity being the alchemy.

This is an inverse equation: the client and designer become involuntary subordinates to the one who destroys and posts. The one who rips off the previous poster actually becomes the catalyst in achieving what is beautiful. It’s an improbable paradox that the destroyer is the creator, like some atavistic mutation of Prometheus and Shiva that obfuscates explanation – yet, purveys such cathartic beauty. Clients and poster designers become irrelevant before the one who carries the scrapers, the glue and the posters. Observers like me, like ambulance chasing lawyers, chase such destroyers in urban environments to find their galleries, that no one cares to attend. Once I am at such a gallery, I linger, study the layered narratives and start composing from the enigmatic tableau: a discrete jumble of pure signals, replete with metaphors. This is where, my observation transmuted to creation. I created, by composing and capturing, and once captured the frame becomes the only reference to the art that had already vanished. The evidence of it remains only in my compositions. Imagine, how many such outdoor galleries are renewed everyday, without a record or an audience!

Conclusion

I have preserved many truncated narratives. But there’s more to it. I have proved, that merely by observation, of what’s seemingly mundane, I have created a record of something new, that has already disappeared. Aesthetic is entirely arbitrary, subjective and personal, yet, there is a logic to it, and that is that everything we create, is the consequence of our aesthetic conditioning, empirical, in how we observe, and the output thereafter. A photographic syllogism: Man learns to observe, therefore, he composes and creates. This is deductive photography. If A is a man, and B who has learned to observe, then C is his output, his creative act, which means that A+B = C. This simple logic belies what happens when we come across something that gives us pure pleasure, some accidental discovery that provokes our senses, triggering impulses to create… to plagiarize, re-render, compose, or frame, in our own way, that which sustains it and our pleasure.

In visual art, as in photography, the element of surprise is the key to that aesthetic alchemy that gives us pleasure. In this case, the seemingly two dimensional aspect of the photographs, disguise the layers of violation perpetrated by a community of promoters for their bidding. The promotional palimpsests of a society reveal the contradictions, the corroborations, the confusion and the conflicts that unfold in the real world of warring narratives: of flame ups and outs, violence, obsolescence and oblivion, the very essence of existence.

Finally, everything already exists out there, nature and perpetual change, therefore, visual invention is relegated to our cognition, discovery, then recycling and recomposing, so as to transmogrify it’s state and bring it to the attention of those who had missed it. The degree of separation between seeing and observation is relative. Newton’s cursory seeing could be more insightful than a doctoral thesis after years of observation. In this case, it’s my aesthetic radar, derived from years of conditioning in Asia, and the cognition of value in that which appears worthless to others. Today, we exist in a world of images within images, and messages carrying messages – and in such conditions, we all can be aesthetes and artists, that is, if we can learn to observe. Copyright © Raju Peddada, November 30, 2018. All rights reserved on photographs and Text.

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

© Raju Peddada

Raju Peddada

Raju Peddada was born in India, and migrated to the United States in 1983. He is the founder and CEO for PEDDADA. COM since 1999, and also a producer/writer for Satyalu+Kristi Media, USA. He is a design provocateur, an originalist in design contemplation, who draws inspiration not from other designers, but from nature, history and literature. He has 22 Design Patents, and was also responsible for several critically acclaimed and sold out products launches to the high end luxury furnishings market. He has been editorially featured in scores of international culture-design magazines as the “Taste-maker,” in Interior Design, Clear, Dwell, Spaces, Domus, Abitare, Interni, Frame, Monitor, Objekt, Chicago, the Chicago Tribune, and Cable news. In addition he also is a freelance journalist, with over a 100 essays-articles- reviews in literary magazines like Swans.com, Bookforum, Spaces, and the NY Times. He is a photographer, who in the summer of 2017, released his exploratory thesis on “The Aesthetics of Ambiguity,” which essentially shifts the aesthetic paradigm, from the stillness aesthetic to that of ambiguity, in sensing the beauty of our movement and condition in the urban setting. Three photographic exhibits are in the offing. He is the author of four small books.

Magazine

CALL FOR ENTRIES

AN AMAZING PROMOTIONAL TOOL DESIGNED TO EXPOSE YOUR WORK WORLDWIDE

DEADLINE: TUESDAY, NOVEMBER 31, 2021

PHOTO: © JO LAUREN | UNITED KINGDOM | ISSUE 10
https://www.dodho.com/wp-content/uploads/2020/11/Z.jpg

Simply Stunning Landscapes – Would you like to capture stunning landscapes every time you shoot… without having to travel far from home?

https://www.dodho.com/wp-content/uploads/2020/03/Landscape-and-Nature-dPS-Photography-Course-300x250-1.jpg

Landscape & nature photography is one of the most challenging genres and disciplines to learn, and the costs of getting it wrong can be disappointing

300x250

With ON1 Photo RAW you get the professional photo editing tools every photographer needs to get professional results while keeping your workflow.

https://www.dodho.com/wp-content/uploads/2020/12/BAnImage.jpg

ImageRights provides intelligent image search and copyright enforcement services to photo agencies and professional photographers worldwide.

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.
TRENDING STORIES
Yurian Quintanas – Grabarka:Between Earth and Heaven

B&WEuropeStoryYurian Quintanas – Grabarka:Between Earth and Heaven

Every year, on the 19th of August, thousands of Orthodoxs, moved by faith, flock to the holy mountain of Grabarka to celebrate the Transfiguration. Many of them get there on foot, on their knees or carry the traditional orthodox cross for many miles as a sacrifice to God.
Simone Zeffiro; Italian self-taught photographer

B&WConceptEuropeSimone Zeffiro; Italian self-taught photographer

Simone Zeffiro is an Italian self-taught photographer born in 1979 in a small city close to Milan. During his first travel to France at the age of 17 he discovered his interest to photography taking photographs just for fun around the wonderful city of Paris.
Artistic portraits and imaginary worlds of Rebecca Massey

ConceptArtistic portraits and imaginary worlds of Rebecca Massey

Then I started exploring photography as a medium to create artistic portraits because I was never too interested in documentary photography.
Jeff Alu ; Between documentary and a semi-dreamlike state

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,
Five minutes with Marco Tenaglia

DnaEuropeFive minutes with Marco Tenaglia

I guess I’m interested in photography since I was a kid when I got my first camera, a polaroid sx70. I always loved to take photos.
Wild Things by Wiebke Haas

BioEuropeWild Things by Wiebke Haas

This year one of my biggest dreams came true – I met wild horses. I mean I literally stood in between large herds surrounded by prying, gentle animals. Contrary to my expectation to meet animals which are wild and untamed, I found trust, love and pure curiosity.
A lonely soul by Sebastian Gruia

B&WEuropeStoryA lonely soul by Sebastian Gruia

This is my grandmother, a divided soul between two worlds, between her two sons gone to find a purpose in their lives. My uncle was the first to leave the family nest, back then he had a rebel nature and couldn’t bare the communist regime
Childhood memories by Honger Li

AsiaB&WStoryChildhood memories by Honger Li

Childhood memories who never had! The memories are full of playmates chase between frolic dreams of Meng Meng.
Bihari, Stranded Pakistanis by Kosuke Ryujin

B&WStoryBihari, Stranded Pakistanis by Kosuke Ryujin

Biharis are Urdu speaking Muslim migrated from Bihar province of India to East Pakistan which is now Bangladesh in 1947 at the time of The Great Partition. During the independence war in 1971 between East Pakistan and West Pakistan
FEATURED STORIES
Wildlife photography; Land of Giants by Will Burrard-Lucas

B&WBioEuropeFeaturedWildlife photography; Land of Giants by Will Burrard-Lucas

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

AmericaB&WConceptFeaturedUnder the sign of the rat; Roger the Rat by Roger Ballen

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

B&WBioEuropeFeaturedIntimate portraits of animals; Behind Glass by Anne Berry

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

ConceptEuropeFeaturedFictional narrative photography; Birth Undisturbed by Natalie Lennard

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

AsiaFeaturedStoryJapanese Aquariums by George Nobechi

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

EuropeFeaturedStoryGreenland; Stories from the Sea by Camille Michel

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

B&WEuropeFeaturedShotIntimate diary; Jazz Notes by Giuseppe Cardoni

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

EuropeFeaturedStoryGuatemala; Until the corn Grows Back by Lys Arango

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

EuropeFeaturedStoryGreatest jockeys; Fortza Paris by Marco Cheli

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.
https://www.dodho.com/wp-content/uploads/2021/06/getty-images.png
https://www.dodho.com/wp-content/uploads/2021/06/black-eye.png
https://www.dodho.com/wp-content/uploads/2021/06/Edelman-Gallery.png
https://www.dodho.com/wp-content/uploads/2021/06/Medium.png
https://www.dodho.com/wp-content/uploads/2021/06/Opiom.png
https://www.dodho.com/wp-content/uploads/2021/06/Filter-Photo.png
https://www.dodho.com/wp-content/uploads/2021/06/head-on.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-independent.png
https://www.dodho.com/wp-content/uploads/2021/06/lagos-photo.png
https://www.dodho.com/wp-content/uploads/2021/06/gtb.png
https://www.dodho.com/wp-content/uploads/2021/06/IPA.png
https://www.dodho.com/wp-content/uploads/2021/06/in-focus.png
https://www.dodho.com/wp-content/uploads/2021/06/image-rights.png
https://www.dodho.com/wp-content/uploads/2021/06/riga.png
https://www.dodho.com/wp-content/uploads/2021/06/BGD.png
https://www.dodho.com/wp-content/uploads/2021/06/ICP.png
https://www.dodho.com/wp-content/uploads/2021/06/Mifa.png
https://www.dodho.com/wp-content/uploads/2021/06/miami.png
https://www.dodho.com/wp-content/uploads/2021/06/viewbug.png
https://www.dodho.com/wp-content/uploads/2021/06/OFF.png
https://www.dodho.com/wp-content/uploads/2021/06/KLPA.png
https://www.dodho.com/wp-content/uploads/2021/06/rotterdam.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-Nola.png
https://www.dodho.com/wp-content/uploads/2021/06/clampart.png
https://www.dodho.com/wp-content/uploads/2021/06/dripbook.png
OTHER STORIES
X
stay in touch
Join our mailing list and we'll keep you up to date with all the latest stories, opportunities, calls and more.
We use Sendinblue as our marketing platform. By Clicking below to submit this form, you acknowledge that the information you provided will be transferred to Sendinblue for processing in accordance with their terms of use
We’d love to
Thank you for subscribing!
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
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.
- Between 10/30 images of your best images, in case your project contains a greater number of images which are part of the same indivisible body of work will also be accepted. You must send the images in jpg format to 1200px and 72dpi and quality 9. (No borders or watermarks)
- A short biography along with your photograph. (It must be written in the third person)
- Title and full text of the project with a minimum length of 300 words. (Texts with lesser number of words will not be 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.
Issue #14 | September 2020
Current Issue
Vicky Martin
Ryotaro Horiuchi
Susanne Mildeelberg
Diego Bardone
Nicky Hamilton
Alain Schroeder
Printed on 80# matte paper 22x28cm | 100 Pages
Showroom
September 7 to October 31, 2020
Julia Fullerton-Batten
LOOKING OUT FROM WITHIN
Get in touch
How can we help? Got an idea or something you'd like share? Please use the form, or contact hello@dodho.com
Thank You. We will contact you as soon as possible.
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
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
CALL
FOR ENTRIES
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.
Are you ready?
Deadline: Monday, November 30, 2020
Contact
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
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.
NEW!
FOLLOW US.
Subscribe now and get a free access to a curated list of resources.
Feel free to contact.
2017 (C) All rights reserved.
ghfd