Monograph#1

MONOGRAPH

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Dodho Magazine is a free independent maga-zine and publishing house based in Barcelona.We live, breathe and move by the passion thatawakes photography in all their ambits. Since itslaunch in april of 2013, dodho.com has conti-nued to be the fastest growing photography ma-gazine, and currently has more than 500.000annual hits.

Dodho Magazine features the best of contem-porary photography, bringing together diversebodies of work by established and emerging ar-tists from around the globe.

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Monograph´s dual mission is to exhibit and pro-mote the work of talented artists and to providethe public with an opportunity to see and learnabout contemporary photography in a more ac-cessible milieu than that offered by website. TheMonographic focused on the presentation ofonly one photographer and their work.The Monograph project is committed to workingwith galeries, agencies and other dealers to ad-vance the careers of the artists we published.

The photographer / Artist guarantees thathe/she is the owner of the rights to the imagespublished and that he /she has obtained all au-thorizations or permits of third parties in whichthe image appears.

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Can you tell us a little about yourself?A famous photographer whose name I cannot recall (and whom I haven’t been able tofind despite my best googling) said that everything he knew about photography he le-arned from looking at other photos. This succinctly summarizes my photography back-ground in that I am completely self-taught and learned primarily by being inspired byothers’ work.

How did you get interested in photography?My love for photography began in 2004 with the purchase of my first digital camera -a point and shoot Sony W1. Back then point and shoots still had some basic manualcontrols and I learned aperture and shutter speed from the poorly translated manualof that camera! Learning to use the camera happened to coincide with being introducedto national parks by my college friends, and the combination quickly created a deeplove of the outdoors and the desire to share its wonders.

Have any artist/photographer inspired your art?I have a wide range of inspirations, and because I'm completely self taught - I don'tnecessarily have the knowledge of historical photographers that someone with a tra-ditional education might have. Like most people I'm consistently inspired by what I seeonline on blogs and social networks, and I'm also an avid Outdoor Photographer rea-der. Some of the photographers who inspire me the most today are Jack Dykinga, NickBrandt, Paul Nicklen, Galen Rowell, Clyde Butcher, Michael Fatali and of course AnselAdams. Visiting Clyde Butcher's gallery in the everglades was a revelation as was se-eing Michael Fatali's gallery near Zion.

Could you please tell us anything about your techniqueand creating process?I've been as far north as Yellowknife, Canada, and as far south as the Antarctic Penin-sula to capture a small bit of the beauty of this world. My work, at its core, is aboutdescribing places and moments. When they are successful, my photos combine uniqueperspective, decisive timing, and technical excellence to distill the sense of a place orthe significance of a moment. Finding a unique perspective in a place a million tourists may visit each year is in myopinion what separates a truly great photographer from the rest. I love reviewing photoswith my friends who were often with me when I took the shots and being able to showthem a perspective that's completely new to them. When I shoot, I try to calm my mind and which is critical to achieving the decisive timingthat allows me to capture the exact fleeting moment at its purest. Technical mastery is a state of mind for me as much as it is a set of specific steps. Itspans from planning a photo outing, to shooting in the field, to post processing, to prin-ting, and finally to framing the finished product. My mechanical engineering backgroundallows me to deeply understand each of the steps along that chain, and I get a thrillout of tuning my process to optimize the end result.IN

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Too many people focus on equipment and too few focus on developing their visualcommunication skills.

From time to time many photographers find themsel-ves in a creative rut or uninspired to shoot. Does thisever happen to you and if so how do you overcomethese phases?When I first got to Antarctica I found shooting penguins difficult and was quite un-happy with my results. They’re too small to easily use as foreground in a lands-cape, and so many people have made close-ups of them that it’s hard to createanything original.

What was helpful for me was to relax and attempt to enter a zen-like state whereI’m just taking in the beauty and grandeur of the scene around me. In this state I’mnot thinking about what I’m missing or what other photographers have done orhow my photos compare to the other people on the trip – I’m just letting the beautyflow over me.

What future plans do you have? What projects wouldyou like to accomplish?

I have two active photography projects at the moment. One is to document SanFrancisco's unique and diverse architecture on my frequent runs throughout thecity. This one is just starting and architectural photography is an exciting new cha-llenge for me. The second is to capture the stunning beauty of west-coast nationalparks, which I have always been passionate about.

Describe your ideal photographic situationFor me an ideal photographic situation is one in which I have a lot of time to get a sensefor place and explore its visual character. In my experience, being rushed in photo-graphy is a recipe for formulaic photos so having the chance to relax and walk aroundand really explore the visual opportunities of a place is critical to taking meaningful ima-ges. My trip to Antarctica was the perfect example of this: I serendipitously found aspot on the boat of a film crew making a documentary about former British Coloniesand was able to tag along on the incredible locations they visited. Each day I went outwith the earliest boat and came back with the last. Having so many hours to absorband enjoy the truly stunning environment was a fantastic and unforgettable experience.

How much preparation do you put into taking a photo-graphy?Quite a bit. Google Earth, the photographers’ ephmeris and plain old google sear-ches have been instrumental in finding visually interesting locations that are thefoundation of all of my work. When I plan a shoot I generally start with google to seewhat other photographers have done in the area. It’s easy to get stuck in replicatinggreat work rather than creating something personal and original, though, so I have tobe careful to not let my research cloud my vision when I’m actually there. Next I usegoogle earth to get a sense for where the sun, moon, and stars will be and at whichtimes.

Lastly, I’ll use brochures and trail maps to identify a few options for key times likesunset and sunrise. Frequently all this planning is swept away by unexpected wea-ther conditions, or a chance wildlife encounter, but I find it useful to build my ownknowledge of a place in case I need options when the light is changing quickly.What’s your useable-to-unusable ratio when you review images from a shoot?I’d say the majority of my photos are useable, but that isn’t really the metric I careabout. I care much more about whether the photo is portfolio worthy, which meansit’s one of a handful of photos that I take each year that I’ll be truly proud of for a longtime to come.

What’s your useable-to-unusable ratio when you reviewimages from a shoot?I’d say the majority of my photos are useable, but that isn’t really the metric I careabout. I care much more about whether the photo is portfolio worthy, which meansit’s one of a handful of photos that I take each year that I’ll be truly proud of for a longtime to come.

What quick advice do you have for someone who wantsto improve his or her photography skills?Find great locations and great light (most sunrises/sunsets qualify) and then justshoot. If you enjoy what you’re doing, the technical understanding will follow.

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About AntarcticaAntarctica was by far my most uniqueand exciting trip. I had the good fortuneof being able to join an expedition thatwas filming a documentary in the deepsouth and was able to tag along andshoot mostly independently for 28 days.The ice, wildlife, and astonishingly clearair were unlike anything I've ever seen inmy life, and it was an incredible privilegeto be able to photograph in such a spec-tacular environment.

Antarctica was also my first time shooting wildlife - I pur-chased a 70-400 zoom specifically for the trip and fell inlove with the focal length. I've come to love the uniquemix of patience, split-second reflexes, and total masteryof my equipment that wildlife photography requires.

I have two active photography projects at the moment.One is to document San Francisco's unique and diversearchitecture on my frequent runs throughout the city. Thisone is just starting and architectural photography is anexciting new challenge for me. The second is to capturethe stunning beauty of west-coast national parks, which Ihave always been passionate about.

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How I startedMy love for photography began in 2004 withthe purchase of my first digital camera - apoint and shoot Sony W1. Back then pointand shoots still had some basic manual con-trols and I learned aperture and shutterspeed from the poorly translated manual ofthat camera! Learning to use the camera happened to coincide withbeing introduced to national parks by my college friends,and the combination quickly created a deep love of theoutdoors and the desire to share its wonders.

InspirationsI have a wide range of inspirations, and be-cause I'm completely self taught - I don't ne-cessarily have the knowledge of historicalphotographers that someone with a traditio-nal education might have. Like most people I'm consistently inspired by what I seeonline on blogs and social networks, and I'm also an avidOutdoor Photographer reader. Some of the photogra-phers who inspire me the most today are Jack Dykinga,Nick Brandt, Paul Nicklen, Galen Rowell, Clyde Butcher,Michael Fatali and of course Ansel Adams. Visiting ClydeButcher's gallery in the everglades was a revelation aswas seeing Michael Fatali's gallery near Zion.

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StyleSince then I've been as far north as Ye-llowknife, Canada, and as far south asthe Antarctic Peninsula to capture asmall bit of the beauty of this world. Mywork, at its core, is about describingplaces and moments. When they aresuccessful, my photos combine uniqueperspective, decisive timing, and techni-cal excellence to distill the sense of aplace or the significance of a moment.

Finding a unique perspective in a place a million tou-rists may visit each year is in my opinion what separa-tes a truly great photographer from the rest. I lovereviewing photos with my friends who were often withme when I took the shots and being able to show thema perspective that's completely new to them.

When I shoot, I try to calm my mind and which is criticalto achieving the decisive timing that allows me to cap-ture the exact fleeting moment at its purest.

Technical mastery is a state of mind for me as much asit is a set of specific steps. It spans from planning aphoto outing, to shooting in the field, to post processing,to printing, and finally to framing the finished product.My mechanical engineering background allows me todeeply understand each of the steps along that chain,and I get a thrill out of tuning my process to optimizethe end result.

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Monograph#1

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