We're excited to introduce Pauline Petit, a renowned French artist born in 1986 in Normandy. Best known for blending photography, illustration, and painting, she has made significant strides in the art world since becoming a professional portrait photographer in 2007.
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Francesco Scalici
A recent MA graduate from the University of Lincoln, Francesco has now focused on landscape photography as the basis of his photographic platform. An author for DODHO magazine, Francesco’s interest in documentary photography has turned to writing and has had various articles, interviews and book reviews published on platforms such as: ‘All About Photo.com’, ‘Float Magazine’ and ‘Life Framer Magazine’. Currently on a photographic internship, Francesco has most recently been involved in the making of a short film titled: ‘No One Else’, directed by Pedro Sanchez Román and produced my Martin Nuza.
Belgian photojournalist Alain Schroeder has been working in the industry for over four decades. First as a sports photographer in the 80s, then shooting book assignments and editorial pieces in art, culture and human stories.
France Leclerc, born in Québec, Canada, is an independent photographer who currently lives in Chicago. Her early career was in academia, but her true passion for documentary and street photography has now taken over.
A photographer passionate about art, for a long time she has combined this interest with the spontaneity of visual storytelling, conceived not only as a classic account of experiences but as a combination of personal and creative shots conveys the secret appeal of urban places and museums, revealed through images and words like a “photographer narrator”.
Riccardo Magherini is a photographer and visual artist. By approaching his medium in innovative ways, Riccardo often challenges human perception, condition and context.
In this interview for Dodho Magazine, Francesco Scalici met with spanish Photographer Elena Molina to discuss her ongoing project ‘Being a child in a Mundari camp’, which recently featured on the pages of Issue 19 of the Magazine.
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.
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.
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.
Gavin Smart is an award-winning freelance photographer. He has a rich and diverse creative background which began with his rigorous musical training, studying the tuba at London’s prestigious Guildhall School of Music.
Dali is definitely one of my inspirations when I was learning about surreal art. However, jellyfish has nothing to do with his artwork. The gentle floating of clouds and jellyfish creates a sense of calm.
These images are about loneliness, being abandoned, pain, about intimacy and connectedness. The photographs were not taken based on a concept, but from a feeling, an impulse.
When I finally had divers willing to be photographed and permission to hang my backdrop, it started to rain and I had to shoot holding an umbrella and protect my camera.
The initial inspiration for the cover photograph came from the Disney character Minnie Mouse however, the stereotype that is often placed on the female as being timid, much like a mouse, also filtered into my conception of the idea.
Sarah Koenig Wagner is a photographic artist and fine arts advocate who holds degrees in photography and art history from the University of Arizona.
When we started the project with Dia and her children, we didn't know exactly how we were going to organize ourselves. But the idea was for me to follow them as closely as possible and for as long as possible.
The motivation for my story was a personal experience I had at the age of 10. I was raised at the Flemish countryside in the province of Antwerp. I remember that one cold December night, I was walking back home from a friends’ house with my mom.
I think this project was a combination of many thoughts and ideas. Both conscious and unconscious. The initial feeling was my frustration/ fear with the experience at the supermarket and also the unknown.
The gear used on this trip was the Phase One XF Camera, IQ3 Digital Back, and several Schneider-Kreuznach lenses including the 28mm which I used to capture unique portraiture including the boxer and the farmers.
Seb Agnew (born 1986) is an award-winning photo artist based in Hamburg, Germany. Within staged images, he creates hyperrealistic sceneries which explore the human psyche and our modern society.
I am a very visual person; I have always been. I believe the human form and especially the female form is most fascinating and worth exploring in photography. However, I don`t like to be conventional and I believe that rendering it in a traditional manner in a photo is unsatisfying.
Walking through one of the camps I saw a kind of shack in which there were many people queuing. I approached them and noticed that they were waiting to dispatch what they had been granted in another shack. They had a sort of voucher and were waiting their turn to collect materials; mainly, canvas covers to build or repair their homes.
I probably use every tool imaginable to shape the images. It’s really a variety of techniques that come together that creates the affect I like. I clean up the surfaces very laboriously, and I do a lot of dodging and burning to make more minimalistic and smooth. I also do color shifting. The end product looks a world different than the raw files.
My photographs in this series are metaphors for the interior lives of women; how we substitute everyday objects and artifice and turn them into obsessions. As for the Nightmare picture, I was thinking about the monster under the bed that we knew was there as children.
There is definitely a fine line that now separates documentary photography and fine art photography. I want to tell stories through my pictures and I like to create images that we can respond to, something that speaks to us.
I found film again some two years ago when I accidentally bought a Rolleicord camera. It simply looked awesome on a store shelf. I was immediately captivated by the camera itself, but I also soon found out that I can actually get the results I want with film.
Traditional gender roles are common within the Traveler community. It is expected and en- couraged for Traveler girls to marry young and have many children.
The presence of signs is the revelation of the trace of men in the American landscape, and, of the endless expansion of urbanism with the sensation that there is no going back.
Dina began her career over 25 years ago as a photojournalist, evolving from a documentary and editorial photographer into an independent artist focusing on large-scale productions of nuanced photographic tableaux.
I think my work touches on the relationship between all of these elements; the imagined, death and the landscape. The theme of death is something which has come about indirectly, as a result of my interest in other ideas such as dystopia, memory and the uncanny.
Ralph Gibson is one of the most celebrated American photographers, having achieved worldwide recognition in his career for more than four decades.
I think my work touches on the relationship between all of these elements; the imagined, death and the landscape. The theme of death is something which has come about indirectly, as a result of my interest in other ideas such as dystopia, memory and the uncanny.
I don’t usually have a recognizable face in my pictures, the faceless or unrecognizable man works as a device to make the viewer relate, someone they can replace with themselves, or someone they can chose to observe from a distance.
When I started to pick up photography, I learnt to shoot many genres, from macro, landscape, night scape, long exposure, street photography… slowly I noticed capturing images related with human elements is very challenging yet fulfilling.
Almost each figure in the images has their own backgrounds or archetypes, and they are all people who had important influence at historical moments.
The festival’s goal has always been to bring together a diversity of images surrounding a particular theme. The theme this year seeks to explore and open up discourse about the passport not just as a document but as a form of identity rooted in all aspects of life.
When I started to pick up photography, I learnt to shoot many genres, from macro, landscape, night scape, long exposure, street photography… slowly I noticed capturing images related with human elements is very challenging yet fulfilling.
I knew in advance that I wanted to create the portraits, but the where and how element can only ever be tackled once you’re on location and found a spot that grabs you, and then you have to work with the weather that you are given on that day.
When I speak of attempting to photograph with a mind not preoccupied with emotions or thought, I am speaking of simply photographing whatever I photograph whenever I photograph it and however I photograph it.
I would not define this as a religious encounter; I would define it as a meeting between cultures, between different societies. Unfortunately, I have not yet been part of a women's talk after the beach activity.
David Godichaud was born in Fontainebleau (France) in 1973. He started a carreer of photographer ten years ago, after graduating in Science Research first and from the photojournalism program of the International Center of Photography in New York next.
My photographic style encompasses cinematic lighting, powerful colour combinations, careful choice of models and the use of settings and props which enhance the visual story I am telling.
The goal of the Festival is to establish a global platform for learning through exhibitions, workshops, lectures and other events. This Festival is a collaborative effort to advance the work of photographers who pay attention to everyday life in order to capture the world around us.
The festival OFF Bratislava is held simultaneously with the Month of Photography and it acquires its uniqueness by being a platform for fresh talents from the photography scene.
