B&WEuropeStoryThe human side of photography; Promenade by Carlo Traini

Promenade’s pictures are without a doubt part of the human side of photography. In Promenade, people are not merely treated as objects in a scene; conversely

Promenade’s pictures are without a doubt part of the human side of photography.

In Promenade, people are not merely treated as objects in a scene; conversely, my pictures are taken when I feel these subjects become their most natural selves, a moment usually deemed not worthy of union by most.

I’m catching the instant in which they’re contemplating something, dealing with their anxieties or sharing their joy, feeling some kind of burden of being/not being where they want, or just warning to be somebody or somewhere else. All subjects are thinking about hope, fear, an illness, some relative of theirs who lives far away. In that sense, I am there with them, searching for those moments.

A typical subject for me is something extraordinarily normal living their daily run, something only a few people want to (or even have me to) observe: that’s why each photo is dedicated to the subject represented in it. This lyricism is also further explored with a message directed to all of the Promenade’s protagonists. These pictures unwillingly take part of demonstrating their impossibility of truly being alone – they testify that one person has walked alongside them, and captured their Lile glimpse of life, forever. They are links of a chain I drag with me, pearls of an intriguing necklace I wear every me, I see, recognize, and finally shoot, celebrate the magnitude and diversity of the human emotions.

All my inspirations stem from my care for mankind, and the inherent complexity of its nature. These photos are meant to fix one’s memory on imperceptible things, in order to make them survive the indifference of me, planner of all emotions. [Curator and Eden: Loredana De Pace]

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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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Another pandemic Easter by Thomas H.P. Jerusalem

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Wildlife photography; Land of Giants by Will Burrard-Lucas

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Intimate portraits of animals; Behind Glass by Anne Berry

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Fictional narrative photography; Birth Undisturbed by Natalie Lennard

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Japanese Aquariums by George Nobechi

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Greenland; Stories from the Sea by Camille Michel

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Intimate diary; Jazz Notes by Giuseppe Cardoni

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Greatest jockeys; Fortza Paris by Marco Cheli

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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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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.
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