All images © Laura Pannack

Her work has won and been shortlisted for a total of 12 awards since June 2008 and has been published worldwide. These include first place in the Hotshoe International Next Perspective Award, The Terry O'Neill Awards, Shots 2008, The D&AD Awards and The Magenta Foundation Award 2009

She was recently chosen as the 'Judges Choice' at the Nikon Discovery Awards and was a finalist for the BJP 2009 Project Assistance Awards which will be revealed in the forth coming weeks.

Laura was selected as a YPU member and is on Talentpool on the D&AD website. She recently judged a photography competition for the British Youth Council and was commended for her work on alzheimers in the D&AD awards

Shut out from the teenage world the majority of us struggle to comprehend the behaiviour of some adolescents. Through a lack of understanding, which breeds fear, we tend to stereotype young people. However, these judgements are fuel for rebellion, intensifying the search for attention, identity and belonging.

The invincible yet vulnerable nature of teenagers has inspired me to embark on photographic adventures, sharing their company and releasing their unidentified identity through the art of picture making.

"I have intentionally chosen not to title my project as I did not want to label or define any of my subjects. Likewise, I have left it unclear whether my subjects are young offenders on probation, pupils with special needs, private school attendants or other young people I have encountered. The images are simply titled with the true forename of each young person, giving the viewer a hint as to their identity. Just as we wonder for them, we also review who we have grown up to become."

"With the prevalence of negative images of young people in the media, it is time to celebrate British youth with their infinate diversities and see them as individuals with a huge potential of talent and skills they can offer the country. We need to challenge those images which only serve to give our youth a sense of low worth resulting in perpetuating the cycle of problems, low image, crime, bad press, low self esteem and more crime. Constructing stereotypes and transcribing blame is preventing the next generation from being inspired to achieve and develop self-confidence. I hope through my imagery to challenge these perceptions."

laura pannack's blog


Representação e percepção do corpo humano.

Partimos do arquétipo do corpo, fotografando-o individualmente, de pé sem roupa, de costas para a câmara, contra um fundo regrado com o objectivo de registar o movimento implícito no mesmo quando este se encontra imóvel.
Diferentes corpos contra o mesmo fundo, com o mesmo enquadramento e à mesma distância da câmara produzindo um conjunto de imagens homogéneas.
Registando e mapeando assim as diferentes tipologias do corpo humano. Diferenças volumétricas, simetrias e assimetrias, desequilíbrios e consequentes reacções do corpo à força da gravidade.


O trabalho resultante desta sessão fotográfica dará origem a uma exposição itinerante passando por várias universidades do país no ano de 2010, onde o corpo fotografado se apresenta em tamanho real.

O trabalho será também exposto, noutro formato, nos meses de Janeiro e Fevereiro na galeria P4Photography.
Os interessados deverão entrar no link seguinte e definir a sua disponibilidade no horário da sessão. Cada participante tem apenas de estar presente durante 1 hora.

PARA PARTICIPAR BASTA ENTRAR EM: http://www.doodle.com/x27mhbbbqdtgrsef

Contacto: Filipe Barrocas - 91 635 70 47 - filbarrocas@gmail.com


Zackary Canepari

Zackary Canepari is a freelance photographer specializing in editorial and documentary photography. His career began in 2003 shooting portraiture for American culture magazines such as XLR8R, RIDES and the SF Guardian. Before that he studied photography in Paris at the SPEOS photographic institute and later entered the Masters Program at the Academy of Art in San Francisco. He has been still photographer for two documentary films, My Blood My Compromise, about the struggle for Independence in Kosovo and REBORN, about rebuilding the New Orleans school system after Hurricane Katrina. For the past two years he has been based in New Delhi working with clients that include the New York Times, The Guardian, Newsweek, TIME Magazine, and The Chicago Tribune.

Nadav Kander

Nadav Kander is recognized as one of the most original and highly regarded photographers of our time. His work forms part of the public collection at the National Portrait Gallery and the Victoria and Albert Museum in London.

Kander was born in Israel but grew up in Johannesburg. He began photographing at 13 and later, when drafted into the South African Air Force, worked in the darkroom printing aerial photographs. He moved to London in 1986, where he lives with his wife, Nicole and their three children.

His work appears in publications including The Sunday Times Magazine, Rolling Stone, Another Man and Dazed & Confused. In 2009, The New York Times Magazine devoted an entire issue to Obama’s People, his 52 portraits of President Obama’s inaugural administration.

The Yangtze River, which forms the premise to this body of work, is the main artery that flows 4100miles (6500km) across china, travelling from its furthest westerly point in Qinghai Province to Shanghai in the east. The river is embedded in the consciousness of the Chinese, even for those who live thousands of miles from the river. It plays a significant role in both the spiritual and physical life of the people.

"Using the river as a metaphor for constant change, I have photographed the landscape and people along its banks from mouth to source.

Importantly for me I worked intuitively, trying not to be influenced by what I already knew about the country. I wanted to respond to what I found and felt and to seek out the iconography that allowed me to frame views that make the images unique to me.

After several trips to different parts of the river, it became clear that what I was responding to and how I felt whilst being in china was permeating into my pictures; a formalness and unease, a country that feels both at the beginning of a new era and at odds with itself. China is a nation that appears to be severing its roots by destroying its past in the wake of the sheer force of its moving “forward” at such an astounding and unnatural pace. A people scarring their country and a country scarring its people.
I felt a complete outsider and explained this pictorially by “stepping back” and showing humans dwarfed by their surroundings. Common man has little say in China’s progression and this smallness of the individual is alluded to in the work.

Although it was never my intention to make documentary pictures, the
sociological context of this project is very important and ever present. The displacement of 3 million people in a 600km stretch of the River and the effect on humanity when a country moves towards the future at pace are themes that will inevitably be present within the work.
A Chinese man who I became friends with whilst working on the project reiterated what many Chinese people feel: “ Why do we have to destroy to develop?” He explained how in Britain many of us could revisit the place of our childhood, knowing that it will be much the same, it will remind us of our families and upbringing. In China that is virtually impossible, the scale of development has left most places unrecognisable, “Nothing is the same. We can’t revisit where we came from because it no longer exists."

Mitch Epstein

Mitch Epstein belongs to a generation of photographers who explored the use of color photography as an extension of documentary photography — and as a subject in itself —during the 1970s.
Mr. Epstein first developed his extraordinary sense of color in India, and color played a crucial role in his compelling series on Vietnam in the 1990s. A master of the medium and a mature artist at this stage of his career, Mr. Epstein began in 2003to turn his formidable power to the subject of energy and its use in America.

Mitch Epstein's ''American Power'' photographs are a result of what he calls in an artist's statement an ''energy tourism'' journey through America's fossil fuel, nuclear and green energy ''hot spots.'' The project was prompted by the evacuation of an Ohio town in the wake of environmental contamination.

Mr. Epstein's odyssey was transformed by two things: the Patriot Act and Hurricane Katrina. Pictures of nuclear reactors looming over exurban neighborhoods or of a California oil refinery shot from an artfully respectful distance hint at Mr. Epstein's trials photographing energy sources in post-9/11 America.


Coke Wisdom O’Neal

O’Neal began shooting his Box series portraits in New York City almost four years ago. When he began the project in Manhattan, he photographed friends, family and, with a little help from Craigslist, eager strangers. But every passerby was welcome to step inside this outdoor structure and have their picture taken. The resulting portraits, which are free of digital manipulation, bring to mind Lilly Tomlin’s rocking chair character “Edith Ann,” and the 1980s cartoon The Littles. Sitters become miniature curiosities and the gallery the proverbial cabinet.

Chris Anthony

Chris Anthony is an internationally recognized photographer who was awarded the 2007 Grand Prize in American Photo’s Images of the Year Competition for his “Victims & Avengers” series, which was shown in its entirety for the first time at Corey Helford Gallery in January 2007. He has worked on commercial projects for numerous clients, including Sony Playstation 3 and “The Black Parade” for My Chemical Romance. Anthony’s work has been featured in gallery exhibitions in Los Angeles, Stockholm, Washington D.C., London, Bath and San Francisco. Publications that have featured Chris Anthony and his work include the Los Angeles Times, Photo District News, Eyemazing, Art News, American Photo, Paper, Nylon, Black Book, Juxtapoz, Zoom, Angeleno, Corrierra della Serra and LA Weekly. Born and raised in Stockholm, Anthony also lived and studied in Florence. In his teens, he worked as a rock photographer and went on to direct music videos and commercials. He currently lives in Los Angeles.

Jan C. Schlegel is born and raised in the Black Forest of Germany. He discovers his passion for photography at the age of 14. From the influence and counsel of Walter Schels and Toni Schneiders he begins to ascertain his fervor for black-and-white portraits. At 18 he is professionally trained in photography. He begins traveling throughout Asia and Africa with the objective of photographing diverse people groups and tribes in 2000. Through these experiences he develops a striking mode of capturing the beauty in these nations. He not only succeeds in creating artistic photographs, but also in documenting and preserving unique artworks - the people themselves.

Schlegel´s developing technique is as rare and intimate as the subjects of his photography. The black and white photographs are taken with a 4x5 field camera on traditional film. They are not digitally edited, but enlarged on fiber base photographic paper. Afterwards each photographic print is partly toned in order to give each picture its special inner dynamics and depth.