Reading Time: 6 minutes From getting signed, to building networks and negotiating budgets, Ellie Burd (photo agent at Wyatt-Clarke & Jones) gives an in-depth insight into commercial representation
Tag: Laura Pannack
Reading Time: 5 minutes Most photographers dream of signing with an agent. But how do you get their attention? James Gerrard-Jones, managing director at Wyatt-Clarke & Jones, shares what he’s looking for.
Reading Time: < 1 minute In this event, Laura Pannack walks through the artistic and emotional process of her latest project
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Reading Time: < 1 minute Tonight, Wednesday 15 April at 6PM (UK Time), 1854 Presents: Laura Pannack in conversation with Marigold Warner, Associate Online Editor of British Journal of Photography, followed by an audience Q&A
Reading Time: 5 minutes LUMIX Stories for Change is an ongoing collaboration between British Journal of Photography and Panasonic…
Reading Time: 7 minutes Nestled between two estates on the edge of Tipton is an area known locally as The Cracker. It was here that Laura Pannack discovered a tight-knit community of youths and set about exploring the characters, friendships and traditions that, “for me, should not be lost or ignored”.
Reading Time: 6 minutes “She hangs around with us after school even though we make it clear she bores us. We whisper nonsense and pretend to laugh at jokes so she laughs too, and we ask, ‘What’s so funny?’ to watch her squirm. She knows we are mean, and yet still she follows along behind. ‘Like a dog,’ we say, loud enough for her to hear.”
On athousandwordphotos.com this is the start of the text accompanying an image of Russian army cadets by Anastasia Taylor-Lind – but it’s not a direct quote from one of the young women depicted. Instead it’s a work of fiction by author Claire Fuller, inspired by the image but written without any knowledge of the circumstances in which it was shot.
It’s the same with the story that accompanies Karim Ben Khalifa’s photograph of a sofa, which was taken in war-torn Kosovo in 1999. In real life, the sofa had been looted and therefore set on fire by French peace-keepers to discourage further looting. But in author Dan Dalton’s hands, it’s set on fire by a 17 year old, who had spent happy hours with a slightly wayward group of friends hanging out on the abandoned couch. Meanwhile a photograph taken by Dungeness nuclear power station by Phil Fisk, inspired Lydia Ruffles to write a short story about a worker called Tomo who’s afraid of the sea.
Pairing documentary photography with fictional writing isn’t new – in fact it’s become quite a trend, with image-makers such as David Goldblatt, Vasantha Yogananthan, Max Pinckers, and Dayanita Singh – among many more – all playing with the combination in recent years. But the examples above come from quite a different project, set up to support Interact Stroke Support – a London-based charity that organises sessions in which actors read to recovering stroke patients.
Reading Time: 9 minutes Derby is a small British city but once every two years it hosts a big event – the FORMAT Festival. Directed by the well-respected photography specialist Louise Fedotov-Clements and running since 2004, FORMAT has established a firm reputation for interesting international work, and FORMAT19 looks set to continue the good work with exhibitions spread across both Derby and another neighbouring city, Nottingham. Taking place next spring, FORMAT19 is themed FOREVER/NOW and takes on an interesting contemporary question – the role of documentary photography.
“In 2007, while the photography world was still grappling with the idea of photography as an interpretive, non-narrative, non-representational medium, writer Lucy Soutter wrote about the ‘expressive’ versus the ‘straight’ documentary photograph, insightfully characterising the then two sides of the debate,” runs the FORMAT19 press material.
“Since then photography has grown to encompass many manifestations of the ‘crooked’ image through hybrid forms and visual practises and no longer worries about narrative versus abstraction, expressive versus objective. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it.”