AmericaDodhersThe War that Nourished Photography by Raju Peddada

A face is more than just a face. It's a message board, that offers more than we can read. Or it can be a billboard, revealing the inner most condition. The face always conveys the compressed energy of life being experienced in a myriad details – that in retrospect, only a fecund imagination and acute sensitivity can correlate and coalesce.

[Author’s Preface: A face is more than just a face. It’s a message board, that offers more than we can read. Or it can be a billboard, revealing the inner most condition. The face always conveys the compressed energy of life being experienced in a myriad details – that in retrospect, only a fecund imagination and acute sensitivity can correlate and coalesce. The cryptic countenances divulge, ever so reluctantly, the same internal struggles that we experience daily, in our century. Our fundamental condition remains the same.]

“Portraits are the candle by which we read history” – Julian Cox, Author/Curator for High Museum of Art, Atlanta

“I have seized the light. I have arrested its flight” – Louis Daguerre, (1787-1851)

Civil War General John Buford & staff, by Mathew Brady, immediately after the battle of Gettysburg.

Missing in Action

In the late spring morning of 1862, Sam had just turned thirteen. Two yellow butterflies had flitted over his line of sight under the cobalt sky, as three roosters clucked and pecked at the dirt to his left, just as his eighteen year old brother, Tom, opened the gate, and started across their front yard – back from his enlistment, to bid his farewell. As he approached them, his younger brother and his mother, he kicked the pig out of the way, which flipped on its hind, recovered then scurried away in a cacophony of squeals, igniting Sam’s laughter. “Leave some girls for me, will ya?!” a parting ruffle of Sam’s buttery locks by Tom, as he shifted his attention to the bag of food, while avoiding his mother’s eyes. “Come back to us, Tom… my boy…” his mother said in a tremulous voice. “I will… please don’t make it difficult, mother…” That was the extent of their interaction. Then he was gone. Forever.

Sixty years later, in 1925, a tall man with the beard of a mountain trapper, stooped and grim, seventy-three, was hunting for something. He rummaged through a webbed, dusty and decrepit attic of an abandoned building at the edge of town, that once was used for a clandestine telegraph office and photo processing during the war. He swatted away the cobwebs with a newspaper to dig into the pine freight chest in the far corner by the window. He blew off the dust from an object with a flat surface on the top like an anxious archaeologist, when suddenly, a partial face emerged and stared at him with one eye, as if someone peeking from behind a curtain. Howard Carter would have been proud of his reaction. In a concentrated posture, mustering a patience nurtured over six decades of looking, he gently cleared the dust and peered at each photographic plate.

Some were Ambrotype negatives, some were Daguerreotypes, and some were fused. He peered closely at every plate like a seasoned genealogist, looking for triggers for his memory, and it took him to noon to descend to the bottom of the box. Abruptly, a shaft of light cleaved the room, like some omen, as if separating the past from the present with a marbling curtain of agitated dust. At the bottom, under an edition of the “Atlanta Intelligencer” dated May 21, 1864, lay another pile of Daguerreotypes, again, some fused. These were battlefield scenes, hours and days after the carnage. Photographs too dreadful for an exhibit or for the papers. Closeups of distended, decapitated and distorted bodies, beyond recognition, in the process of decomposition, with stray dogs, vultures, coyotes and crows rounding out the anxious diners. In a throbbing interior terror, the legend “Missing in Action” oscillated like a neon hammer in his brain, as he sifted each plate with trembling hands and peered at them closely. He was conscious of his hunt, and wanted it to continue – extend the denial.

Then came the photographs of pathetic negro crews with stretchers shuttling the remains – remains, nothing more than skeletons that had been picked clean, but with uniforms now as rags still buttoned at their nonexistent waists and chests. Then, he saw this plate. A skeleton, whose skull was turned towards the viewer, whose right hand, all bones, extended past the tattered sleeve, and dangled from the edge of the stretcher, being carried by two men. On that hand was an open-end bronze bracelet. The moment of recognition was the decapitation of his being. The braclet had started it’s generational journey on a girl’s wrist in 1698, in Scotland. It was the last thing his dad gave his older brother before vanishing. Stooped and shaking, he put the glass plate down, and in utter deflation, exhaled a repressed sixty year old sob.“Why can’t I be spared, why?” The man had lost his brother twice. No likeness remained of him, except a fading one in his mind, from when he was thirteen. He then picked up the glass plate and compressed it to his chest in a paroxysm of anguish, shattering the plate and shredding his ulnar artery – he died three hours later. A demolition crew found his remains, picked clean, thirteen months later.

The Greatest Generation

Over six-hundred thousand boys and men from the Industrial Revolution had perished, and more than a million such stories vanished altogether, replete with singular dramas, to a lesser or a greater extent. When I look at their faces, I can conjure up their loves, their disappointments, their labor, their trials and their triumphs – faces tell more than we could fathom or care for. And, they are in the form of Daguerreotypes, Ambrotypes and Tintypes, during the entire span of the late industrial revolution in America. Ironically, most life altering discoveries and inventions came within twenty years after the war, and many modern weapon systems, still in use in the 21st century, had been invented during the war. Trauma was not allowed triumph, under any circumstance.

People suffered through unimaginable personal devastation, yet, they coped, survived and became the generation that gave us electricity, the light bulb, the telephone, the car, manned flight, photography, and the dignity of a working life. I cannot help, but think about the young “adults,” in the 21st century at our institutions of higher learning, that threw destructive tantrums and huddled and wept in safe spaces, some requiring psychotherapy, all because, the opposition had won the elections. What would the people of the late Industrial Revolution, who had fought the Civil War to rid us of Slavery and preserved the Union, then went to wring American exceptionalism, think about it. I would hazard to bet, that they would die in side-splitting laughter, like Sam did, when his brother had kicked that pig to his left.

Louis Daguerre. The original Daguerreotype was made by Charles Meade of New York, in 1848. This Daguerreotype now resides in the United States National Museum.

The Greatest Invention?

Of all the inventions of the 19th century, photography, the earliest of them, is probably the most underrated one. Daguerre’s invention of Tonal-Realism in 1833, actually took root in the United States after Samuel Morse, brought the apparatus and technique after his stay in Paris. He was instrumental in bringing two century altering inventions back from Paris, his own: the telegraph and it’s operating premise: the Morse Code, the second was the Daguerreotype process. Both these inventions and their processes brought applicable technology and immediacy to their communications: the realistic image and real time messaging. And, the Civil War was the event that fertilized both these inventions – both technologies came off age during that very American bloodbath.

The American Civil War (1861-65), was fought by the people of the late Industrial Revolution. It was the first large scale war that was recorded in its entirety, by photography. The war, ironically, nourished photography in unthinkable ways, enabling it to become a societal and industrial necessity by the end of the war. In the eras past, wars were depicted in illustration and paintings, often glorifying or romanticizing it – keeping the torn bodies, decapitations, and holes for faces at bay, in the illusions of glory. But, photography changed all that, it destroyed our denial and replaced it with our culpability. In fact the earliest exhibits in New York and D.C., the ones by Matthew Brady and Alexander Gardner, simply shocked audiences and fueled passionate sentiments against war. They soon learned that photography is the practice and art that debilitates the concept of deniability, by rendering the reality manifestly inexorable, implacable. This type of visual aftermath ushered in a new typology of trauma, a sort of PTSD for the viewer – images fetched extended contemplation, brooding, reliving, fear of the possibility of such unfathomable gore, and the depression that followed in its wake.

The rare Tintypes preserved and presented here from my collection, are, reversed postures, they are flipped, which is inherent to such plate development processes, and cannot be detected. While the glass plate sizes from the Daguerreotype or Ambrotype processes came in standard sizes, the Tintypes were cut out metal plates, sometimes cut in weird shapes and sizes, mostly within the postcard size – that appeared as anachronistic metallic Polaroids. After the war, big studios grew their business by sending hired photographers into the field, who plied their trade in distant rural settings, recording the nation as it grew out of its agrarian roots to planted steel buildings and bridges. While in the city, the studios indulged occasional celebrities, like Senators, society woman, and even presidents. Lincoln was the first iconic president to be regularly photographed. What these traveling photographers and their subjects left behind was a treasure trove of aesthetically charged photographic plates, in their melancholy patinas and distress, with portraits that took abuse for over a century-and-a- half, in the form of scrapers and coasters, and still told intriguing tales.

Finally, Why I Collect

I always experience chills and freeze, peering at these peculiar faces that talk to me. “I am no different than you are… same pursuit for happiness in dysfunctional relationships, hardships… headed for oblivion.” My friend, a Tintype expert, asked, “Do you know why they look so grim, like someone they knew was dead?” While I guessed he continued. “It took the photographer a long time to set the camera and flash, and by the time the photographer was ready, they had lost all their spontaneity, humor and turned somber, like in a funeral, in their black outfits.” Who were they? It was quite ironic that the folks on these plates, with their fleeting lives, were captured by some unknown photographer, who had confiscated their frolicking anonymity, replacing it with a punishing immortality no cares about.

Finally, there’s no such thing as an insignificant Daguerreotype, Ambrotype or a Tintype photograph. Every photograph of a person, from the early through the late 19th century America, represented a piece of the evolving national puzzle. Such photographs are indispensable shards of our national memory, our collective western heritage. These photographic processes were a powerful soliloquy on the progress of the medium itself. This is where reality got ossified into a metaphor, and the osmosis of photographic emulsion to blood, as a fact, as proof. These old distressed photographs transcend their own medium to become our meditation, on the universality of suffrage and the temporality of life itself. Look into their eyes, linger there for a while and see if you can make a friend, that would tell you a story. Your own story. [Copyright © Raju Peddada. All rights reserved on the Text and photographs.]

Louis Daguerre. The original Daguerreotype was made by Charles Meade of New York, in 1848. This Daguerreotype now resides in the United States National Museum.

Samuel Morse and his first Daguerreotype camera. The Camera is now in the possession of the United States National Museum. This photograph was made by A. Bogardus, New York, 1871.



Legal Note: The photographer attest that have full authorization to give consent to the publication of these photos or project and have the authorization and permissions of third parties. Guarantees that you have all the necessary communications of property and you have obtained all the necessary authorizations for any property, buildings, architecture, structures or sculptures appearing in your photographs.

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.

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

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

https://www.dodho.com/wp-content/uploads/2020/10/captureDay.jpg
Share your most best images in this photo contest in collaboration with ViewBug. A community that hosts over 40 photo contests and challenges.
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/2020/11/Z.jpg

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

RELATED STORIES
India: The Ancient Festival of Color! by Raju Peddada

AmericaDodhersIndia: The Ancient Festival of Color! by Raju Peddada

India! There's no one adjective to capture the essence of it! Superlatives would fall short, in describing the oldest continuously existing civilization in the world.
Simone Zeffiro Photography

B&WConceptEuropeSimone Zeffiro Photography

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.
Mark Mawson Photography

ConceptEuropeMark Mawson Photography

Mark has had a camera in his hands since he was 8 years old. After leaving school at 18, he studied photojournalism in Sheffield, England, and then went on to work for many of the national daily newspapers in London
Human Waste III by Beatriz Glez Sa

ConceptEuropeHuman Waste III by Beatriz Glez Sa

What would we do if our only home, the only place that we can live in, would be invaded with unknown materials that we have neither the instinctive knowledge nor genetic information passed by prior generations for avoiding it or use any already build defence mechanism?
https://www.dodho.com/wp-content/uploads/2020/11/insta.jpg
Night scenes by Anton Jankovoy

BioNight scenes by Anton Jankovoy

This series of photos I've been making during 6 years in different regions of nepali Himalayas. I've walked on foot across the mountains more than 4000 km and the most of them on the altitude about 3000-5500 m.
Gillian Hyland ; Film Stills or Dramatic Moments

ConceptEuropeGillian Hyland ; Film Stills or Dramatic Moments

Gillian Hyland creates supernatural staged images, presented as film stills or dramatic moments. Hyland’s unsettling mise-en-scene are full of sex and desire, sadness and nostalgia. Narratives that are psychologically evocative - at once sublimely theatrical yet poignant.
RANDOM STORIES
Toying With Manhattan by Lilyan Aloma

AmericaB&WCityToying With Manhattan by Lilyan Aloma

Over the past three decades, my life as a visual artist has been intimately linked to my role as a teacher; each part of the equation being enriched by the experience of the other.
Diane Arbus : Tribute to the suffering of the marginalized

DodhersDiane Arbus : Tribute to the suffering of the marginalized

Diane Arbus forced her audience to face the horrors by making them see the incommodious. The so-called "portrait photographer of the freaks" redefined the boundaries of what can be photographed and challenged the concepts of beauty and abnormality.
Burundi Political Crisis by Paulo Nunes dos Santos

EuropeStoryBurundi Political Crisis by Paulo Nunes dos Santos

The small african nation of Burundi has been gripped by violence since April 2015 as when of Pierre Nkurunziza’s announcement of the intention to run for a third-term in office.
A small North Carolina jewel by Roza Vulf

EuropeStoryA small North Carolina jewel by Roza Vulf

In Spring 2019 I spent a month for a photography residency in Wilson, NC. At first sight, this small North Carolina jewel was deceptively quiet with its nearly empty streets
Temps d’Arrêt by Etienne Buyse

CityEuropeTemps d’Arrêt by Etienne Buyse

For the observer, everything happens behind an opalescent glazed partition. It is like a window onto another world. The photographer captures a slice of life from which he is excluded.
Resilience in the creative process: how can we feed it?

DodhersResilience in the creative process: how can we feed it?

We live in a technologically advanced but emotionally primitive world; a world in which we often keep the feeling and the living totally at a distance which, instead of mutually supporting and helping, they hinder each other. However, we must not forget that we will be much more resilient, the closer we will be able to keep our feeling with our living. When we take a photograph, so when an artist creates, consciously or not,...
Photographers without Borders by Aga Szydlik

AfricaStoryPhotographers without Borders by Aga Szydlik

Photographers without Borders assignment in Tanzania was a humanitarian photo-documentary reportage on behalf PWB and Tackle Africa focused on helping the local community in Tanzania combat HIV epidemic.
Faith by Francis Meslet

ConceptEuropeFaith by Francis Meslet

Face to FAITH Decades went by before I felt the need to enter a church again. Not that I have any bad memories of them, in fact my memories were pretty good and could be summed up in interminable laughter between friends during the Sunday mass under the red nose of the priest who had placed us there to keep an equally red eye on us.
Tokyo; Suits of kabukicho by Rokas Jankus

CityEuropeFeaturedTokyo; Suits of kabukicho by Rokas Jankus

By dusk, the streets of this endless seeming city are being roamed by 'suits'. Its a known, yet overlooked phenomenon. Hungry for bowls of ramen, raw tuna, cold sake out of cans and women, they're being delivered by red taxis to amusement miles in Shinjuku,
FEATURED STORIES
Haenyeo; Grandma divers by Alain Schroeder

B&WEuropeFeaturedShotHaenyeo; Grandma divers by Alain Schroeder

South Korea, Jeju island, known for its characteristic basalt volcanic rock, sits off South Korea. It is the home of the renowned Haenyeo or women of the sea who free dive off the black shores of Jeju harvesting delicacies from the sea.
China; The great wall by Chiara Felmini

EuropeFeaturedStoryChina; The great wall by Chiara Felmini

China is almost a continent and as such can offer extremes and opposites at the same time; the ancient and very distant culture can still be observed in remote villages, increasingly surrounded by the advancing and swallowing civilization.
South Sudan; Smoker women by Ana Maria Robles

AmericaFeaturedShotSouth Sudan; Smoker women by Ana Maria Robles

These women smoke tobacco, an ancient custom that marks their ancestry, identity and tribal pride. Their attitude was strong. Fierce. They were active participants of every ceremony and the Leaders of the communities. 
Descendants of Samurai Ryotaro Horiuchi

AsiaFeaturedShotDescendants of Samurai Ryotaro Horiuchi

In the Soma region of Fukushima prefecture, there is a traditional Samurai festival called “Soma Nomaoi”, which is said to have continued for more than 1000 years.
François Mitterrand by Diego Goldberg

AmericaB&WFeaturedStoryFrançois Mitterrand by Diego Goldberg

I lived in France from 1976 to 1980. While there I had been covering the Socialist Party and when François Mitterrand decided to be a candidate again for the presidential elections I wrote him a letter with a project to document his campaign from the inside, with total access to his private and political activities.
Golden Gate; The Bridge, Reconstructed by Michael Yuan

AmericaCityFeaturedGolden Gate; The Bridge, Reconstructed by Michael Yuan

I wanted to challenge the perceptions of the Golden Gate Bridge. In solid red-orange and spanning 1.7 miles long, the Golden Gate Bridge is an icon of San Francisco.
The Orthogenesis of Soul by Sandipan Mukherjee

AsiaB&WConceptFeaturedThe Orthogenesis of Soul by Sandipan Mukherjee

We are all aware about the theory of biologically evaluation for Jean Baptist Lamarck. The theory tells about the evaluation of human how the structure of APE has got transferred to the today’s human being.
Protest in Brooklyn; Blessed to breathe by Bill Livingston

AmericaB&WFeaturedStoryProtest in Brooklyn; Blessed to breathe by Bill Livingston

When George Floyd’s life was unnecessarily and brutally snuffed out by Minneapolis law enforcement on May 25, it was yet another final straw…and that straw was set ablaze around the globe.
Photographs; North Carolina State Fair by Avery Danziger

AmericaCityFeaturedPhotographs; North Carolina State Fair by Avery Danziger

I have been photographing the North Carolina State Fair since the early 70's. One of my oldest memories was the yearly outing of my family going to the State Fair in North Carolina, starting when I was 6 year old.... 
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 adjacent form, or contact contact@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
February 28, 2021
Don't forget the date