dodho issue 14

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MARCO TENAGLIA

POLINA PLOTNIKOVA

WILFRED WESSEL BERTHELSEN

CLAUDIO ALLIA

LAURE MAUGEAIS

MAXIM BABENKO

MAXINE HELFMAN

FEDERICA GIORDANO

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MARCO TENAGLIA

Italian photographer Marco Tenaglia is known forhis unconventional black and white fashion por-traiture.

His bold and intriguing photographic vision is the resultof a mixture of both contemporary and classic styles,inspired by masters like Helmut Newton.

Tenaglia’s women aren’t classical expression of beauty. Oftenphotographed in recurring poses, placed in luxury or decadentsettings, they show a strong personality and a sort of cold sen-suality.His photographs are balancing on this fine and sometimestricky line between fashion-beauty-glamour and erotic-sexy-trashy, resulting in an elegant and sophisticated black andwhite photography with a timeless quality and the perfectionof imperfection.Renowned for being easy to work with, Marco ensures a com-fortable, friendly but always professional atmosphere forevery production.Based in Rome, he works worldwide for mostly magazinesand fashion brands, as well as selected private clients.

MARCO TENAGLIABLACK & WHITE FASHION PORTRAITURE

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BLACK & WHITE FASHION PORTRAITURE

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MARCO TENAGLIA

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MARCO TENAGLIA

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MARCO TENAGLIA

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I am a Russian-born UK-based photographer. Myphotographic style developed through my loveand knowledge of art. Modern technology equipsyou with some amazing tools that the artists ofthe past could not even dream of – but the maintask is essentially the same: to draw the viewerin, so that they can share your vision and tuneinto the emotions that you are trying to convey.

One of my favourite subjects isflower photography.

The approach to flower photography that I take is some-what similar to that of a portrait photographer – forevery flower and plant that I photograph, I always try

to find its unique look, study its mood and character, and ul-timately unlock the hidden beauty of my models. A successfulflower portrait attempts to discover something unique in a flo-wer, something hidden or not necessarily obvious at first sight.Also, a good floral portrait – unlike a purely botanical illus-tration – would always trigger a thought or an emotion in aviewer’s mind. I work in my home studio. Studio flower pho-tography is great for a perfectionist – no one fidgets or makesfaces, your models do not talk back to you, no sudden gust ofwind or some other quirk of ever-changing weather can spoilyour shot. But, by the same token, you cannot count on so-mething interesting that just happens all of a sudden – it is allup to you; the choices are infinite, and the final result is enti-rely in your own hands.

POLINA PLOTNIKOVAPAST PERFECT

POLINA PLOTNIKOVA

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PAST PERFECT

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Can you tell us a little about yourself?48 years old. Born in Bergen on the west coast of Norway.Grew up on the countryside on an island 5 miles North of Ber-gen. And I still live her with my wife Janicke and the dogFrodo. I have 2 kids, Iselin and Elisabeth, 20 and 23 years old.And the have already moved out.

How did you get interested in photography?When I was studying in the USA in 1986, I bought my firstcamera in Hollywood. But it was not before the cameras be-came digital, I really started to get serious. I have never beenany interested in darkroom work, but now when I can uploadthe images to my mac, and instantly start to process the stuff,then a different world was opening up to me, and I loved it.

Have any artist/photographer inspired your art?Yes, Micael Kenna, Ansel Adams and Sebastio Salgado. Andmy Norwegian mentor Morten Krogvold.

Could you please tell us anything about your techniqueand creating process?Hmm.. Try to make it simple and clean, less clutter the better.Lines and repetition is also important. I use mainly Ligh-troom, light, contrast and curves. I rarely use Photoshop.

WILFRED WESSELBERTHELSENFIVE MINUTES

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FIVE MINUTESDescribe your ideal photographic situationWhen everything falls into place. Light, the object and impactof the image.

How much preparation do you put into taking a photo-graphy?When I travel, there is of course a lot of preparation. But whenI shoot, it all happens on intuition. Sometimes when I plan tomuch, I rarely get the image that I hope for.

What’s your useable-to-unusable ratio when you reviewimages from a shoot?If I take 100 shots, there are maybe 2 to 5 images that is ok.And maybe 1 that is more than ok

What quick advice do you have for someone who wants toimprove his or her photography skills?SHOOT!!! Practice and do not give up. Do not use to muchtime looking at all the great pictures on the net. Try to findyour own style.

From time to time many photographers find themselvesin a creative rut or uninspired to shoot. Does this ever hap-pen to you and if so how do you overcome these phases?Yes, it happens to me to. Try not let it stress you. Take sometime off from your shooting. To me it helps to spend timealone in the nature, and let your mind wonder off.

What future plans do you have? What projects would youlike to accomplish?To get better at what I do, and hopefully get more publicityfrom my work.I have several other project going on. I will complete my pro-ject “Precious ice” and that includes another trip to Antarcticain November this year. And hopefully have a separate exhibi-tion in 2015.

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CLAUDIO ALLIA

Mathare valley is a large settlement which hasabout 500,000 inhabitants crammed into tinywattle, tin and cupboard shacks in a hilly areathat looks to be less than a square mile. It is re-portedly the second biggest slum in Kenya afterkibera.

Living conditions are appalling. Mothers with 6 to 8children reside in tiny, dirty-floored shacks (no biggerthan the average bathroom). The tin roofs leak and the

floors turn muddy when it rains.These shacks are jammed next to each other, filling everyavailable space. Latrines are few if any and no space to buildany. Open, foul-smelling sewerage ditches flow by the edgesof the huts. Children in Mathare are everywhere, undernou-rished but astoundingly full of life. A lot of teenagers andmen seem to be jut hanging about. Some of these men livewith the women, but usually on an intermittent basis, oftenabandoning them in times of crisis. It is estimated that only5% of the adult population in the slum are legally employedat any one time. Nearly everyone subsists through the infor-mal economy. For most, it is easier to survive working in theinformal economy than through paid employment, sincewages for unskilled labour are so low. Wages are about 1200Kenya shillings a month (about US$40.00), of the said salaryKsh. 300 are taken out in taxes. The slumlords charge the re-sidents up to Ksh. 800 a month (minus electricity which costsKshs. 300 per month). The valley vigilante security groupextorts a “security fee” of Kshs. 50 and if not paid will con-fiscate the family’s firebox (used for cooking). To travel toand from their place of work, bus fares usually costs at leastKshs. 20 per day. Add it all together and see what is sumtotal. Nothing is left for food, so most people simply can’tafford to be employed in the formal sector. With high

CLAUDIO ALLIAEVERYDAYDREAM

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EVERYDAYDREAM

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EVERYDAYDREAM

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EVERYDAYDREAM

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LAURE MAUGEAIS

For some it is the intended experience of havingan adventure. For others perhaps it is their PlanB, or C or D, after all the alternatives have failed.Regardless of how one comes to find oneself li-ving in a mobile home, cut-off by snow for the du-ration of the harsh winter, it is a predicamentwhich one usually does not intend to repeat.

There are some however for whom it is simply theirchoice of lifestyle, not a fall-back solution at all.They have given up the material goals and comforts

of our consumer focused world and have embraced life onthe road, traveling seasonally from one job to another one.

Independence such as this nevertheless comes with its ownhefty challenges, surviving the harsh winters is probably thegreatest. The extreme cold of the Alps during winter freezespipes and the energy generating solar panels that normallypower this lifestyle with such efficiency struggle to provideenough heat or light even for these tiny homes.

It takes a special character to survive autonomously in themountain during this part of the year. In a handful of munici-palities there are camping areas that may provide basic faci-lities such as additional electricity, toilets and, when it is notfrozen, a source of clean water. But these services, managedby local city councils and centers of social actions, cost moneyand are, for the truly autonomous, an expensive luxury. Evenif these seasonal travelers decide to stay and pay the rent, theyremain cut off for a few months, snowed-in, anchored inplace, their nomadic wanderings frozen for a time.

She did not know these persons before working with them,she went knocking on their door. They accepted her and trusther.

She is available for assignment in UE and internationally. Sheactually speaks fluent French and English. She can understandSpanish and Serbian.She would love to integrate a collectiveof photographers.

LAURE MAUGEAISWAITING FOR THE SNOW TO MELT

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WAITING FOR THE SNOW TO MELT

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Inspired by flemish painting, “Historical correction” rein-terprets these ild masters from a more contemporanypoint of wiew, our world and cultures are changing soquickly we are witnessing the collision of past and pre-sent. When you look at paintings from periods of art his-tory, the depiction of the populations shift, our world hasbecome so diverse that different cultures are visually har-der to define.

Although my photographs are “invited realities”, theyare about real issues. Populations shift, gender andrace are redefined, past definitions are challenged

and the faces of cultures ans customs change. My works de-picts those changes.

About Maxine Helfman

A self- Taught, late bloomer. After spending years as a stylistand art director, the only way to truly realize her vision wasto get behind the camera. She has since been shooting com-mercially for advertising and editorial clients, while pursuingpersonal projects. Her work has been recognized by PX3, Ipa,Foto DC, Flash forward Boston, Critical mass, British journalof photography, Photonews as well as the permanent collec-tions of Santa Barbara museum of art and museum of fine artHouston.

MAXINE HELFMANHISTORICAL CORRECTION

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HISTORICAL CORRECTION

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MAXIM BABENKO

The protest started as a gathering of a few thou-sand students demanding that Ukraine sign anAssociation Agreement with the European Union,after the government had announced that workhad been suspended on this agreement just be-fore the Vilnius Summit of November 28–29,2013. For Ukraine, signing the Association Agreement wouldhave marked a decisive step away from the centuries-longorientation toward Russia and the east, first consumma-ted in the seventeenth century when the Ukrainian Cos-sack leaders signed a treaty with the czar of Muscovy.The eastern part of Ukraine was ruled by Russia for mostof that time until independence, while the western partspent many years governed variously from Vienna orWarsaw as part of the Austrian Empire or Poland. Thedisparate lands where Ukrainians lived were finally uni-ted under Soviet rule after 1945, but the tensions betweenwest and east remained.

MAXIM BABENKOEUROMAYDAN

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EUROMAYDAN

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FEDERICA GIORDANO

My name is Federica Giordano, I’m 23, and I’man emerging Fashion & portrait photographerbased in Italy. I always love the idea of freezingmemory, capturing the beauty of places I visitedand people I met. And this is how my love for pho-tography is born.At my 18th birthday when I received my first camera asa gift, I started developing this passion.I’m addicted toportraiture: human face and body have a strong powerand I can express any feelings through that. Most of all Ilove fashion portraits. I try to see beauty in every personI meet and place I visit. I let everything around me inspiremy works.

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FASHION & PORTRAIT

dodho issue 14

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