Red Dot from Gallery Stock

RedDot Fall 2010/11

PHOTOGRAPHY: ERIK ASLA

RedDot Fall 2010/11 Red Dot is curated by Global Director, Amy Steigbigel, and highlights a selection of the Gallery Stock premium Rights Managed image library.

Baldomero Fernandez

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Red Dot Fall 2010/11

Fall

BALDOMERO FERNANDEZ

Chad ress

karin apollonia Müller

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Red Dot Fall 2010/11

Erik asla

Winter

Beauty

CHAD RESS & KARIN APOLLONIA MÜLLER

ERIK ASLA

andrea Buso

samuel herman gottscho MusEuM oF thE City oF NEw york

.

Berenice abbott

MusEuM oF thE City oF NEw york

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Red Dot Fall 2010/11

Red Dot Fall 2010/11

Beauty

ANDREA BUSO

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Red Dot Fall 2010/11

New York

SAMUEL HERMAN GOTTSCHO & BERENICE ABBOTT

“I was also aware that the project would require me to be go to great lengths to gain people’s trust and escape my comfort zone.”

What advice would you give to an emerging photographer

laura Pannack

just starting out in the business today? What is the most important lesson you’ve learned thus far in the industry?

new Gallery stock artist:

To stay positive. I hear so much negativity but I think when something is your true passion and interest you can’t help but pursue it. Saying that, it is important to be realistic. The best piece of advice anyone gave me was Mark Power. He said just one thing as I left uni: “ Don’t stop shooting personal projects” Your vision and the way in which you decide to communicate is unique and will evolve , it sets you apart from anyone else.. but the best advice I can personally give is . . . enjoy it.

and need to find time to stay in touch! For a chilled moment

We’re really excited to have you on board with Gallery Stock.

Jesus, the xx, Yeasayer and my very talented friends Esben and

One final question we like to ask our new photographers…

the Witch to cut some shapes to: Jurassic 5, DJ Abdominal, Be-

who is getting a lot of playtime on iPod right now?

yoncé ( guilty pleasure), Beastie Boys, Chemical Brothers . . .

or two . . . Coco Rosie, Grizzly Bear, Two Door Cinema Club, Zola

Laura Pannack Laura, where are you from originally? How did you first de-

this was something that I hope has greatly contributed to the

velop an interest in photography?

project. The idea of exploring what would happen when a pho-

I studied fine art painting and did a foundation course at Central

tographer is more vulnerable than their subject intrigued me

Saint Martins. It was there that they offered a two-week course and

and I was also drawn to the idea of complete strangers meeting

after taking my first picture I was hooked. I carried a 35mm with a

and socializing naked.

roll of black and white film on me everyday and shot street photog-

I wanted to know why they felt the need to be naked or be part

raphy for a year before doing a course at lCC. My father is a pho-

of a group where this was not only acceptable but also encour-

tographer so as I child I was sometimes in the darkrooms and hung

aged. I soon realized that naturism is more than just about be-

out at his studio sometimes. I do have great memories of helping

ing naked, it is a philosophy of life with physical, psychological,

him in the darkroom, tipping trays when I was about 7 . . . I found it

environmental, social and moral beliefs. Some would classify

mesmerizing to see the images appear.

naturism as a religion. The English tend to have a preconceived

What event do you consider as your first big break or mile-

age of 30 to challenge this stereotype further.

Ooooooo it all depends on the mood I’m in . . . weather and scenery . . . I love music but I have a shameful . . . shameful playlist

Cheers, Laura!

view of naturists. I specifically focused on individuals under the stone in the industry?

I don’t know really, I guess it was winning the Hotshoe interna-

Where do you see yourself in five years, in terms of your artwork?

tional award in 2008 and gaining my first commission for the

I hope that I will have pushed my image making further, learnt

Saturday telegraph whilst at University.

more, experimented more, gained new approaches and completed a body of work that I feel is successful.

Tell us about this project. What compelled you to create this portrait series and what was your thought process behind it?

Laura, tell us about your influences…whose work do you en-

The idea behind my latest body of work on young British natur-

joy looking at? Who is one of your favorite photographers

ists stemmed from a combination of research and my focus on

and why?

young people in my previous bodies of work. Despite wanting

I have so many! Simon Roberts has and always will be a huge in-

to veer away from young people I found the subject too tempt-

fluence on me. I am constantly inspired by new work both from

ing. I knew that to embark on this project would challenge me

favourite photographers and new discoveries. I relish in viewing

and help progress my image making. With every project I try to

imagery and films so anything that is thought provoking and cre-

think of new ways to experiment, learn new techniques and ap-

ative is always influential. Films, and literature also contribute

proaches. I was also aware that the project would require me

and I draw much of my inspiration from my friends , family and

to be go to great lengths to gain people’s trust and escape my

subjects. To name a few, I have always loved the work of Phillip

comfort zone. To really understand my subjects and allow them

Lorca de Corcia, Alec Soth, Gregory Crewsdon, Ryan McGinley,

to feel at ease I decided to also spend the entire time naked and

Joakim Eskildsen . . . there are sooo so many

.

Red Dot Fall 2010/11

.

Red Dot Fall 2010/11

Interview

Featured Artist

LAURA PANNACK

LAURA PANNACK

laura Pannack

.

tom Nagy

.

Red Dot Fall 2010/11

Red Dot Fall 2010/11

Featured Artist

Architecture

LAURA PANNACK

TOM NAGY

Big report

Francis Frith

gEorgE EastMaN housE

.

Édouard Baldus gEorgE EastMaN housE

.

Red Dot Fall 2010/11

Red Dot Fall 2010/11

Big Report

Antiquity

GEORGE EASTMAN HOUSE

Baldomero Fernandez

.

Red Dot Fall 2010/11

Chad Ress

.

Red Dot Fall 2010/11

Karin Apollonia M端ller

.

Red Dot Fall 2010/11

Erik Asla

Andrea Buso

.

Red Dot Fall 2010/11

Samuel Herman Gottscho MUSEUM OF THE CITY OF NEW YORK

.

Red Dot Fall 2010/11

Berenice Abbott

MUSEUM OF THE CITY OF NEW YORK

Laura Pannack

.

Red Dot Fall 2010/11

New Gallery Stock Artist:

Laura Pannack Laura, where are you from originally? How did you first develop

this was something that I hope has greatly contributed to the

an interest in photography?

project. The idea of exploring what would happen when a pho-

I studied fine art painting and did a foundation course at Central

tographer is more vulnerable than their subject intrigued me

Saint Martins. It was there that they offered a two-week course and

and I was also drawn to the idea of complete strangers meeting

after taking my first picture I was hooked. I carried a 35mm with a

and socializing naked.

roll of black and white film on me everyday and shot street photog-

I wanted to know why they felt the need to be naked or be part

raphy for a year before doing a course at lCC. My father is a pho-

of a group where this was not only acceptable but also encour-

tographer so as I child I was sometimes in the darkrooms and hung

aged. I soon realized that naturism is more than just about be-

out at his studio sometimes. I do have great memories of helping

ing naked, it is a philosophy of life with physical, psychological,

him in the darkroom, tipping trays when I was about 7 . . . I found it

environmental, social and moral beliefs. Some would classify

mesmerizing to see the images appear.

naturism as a religion. The English tend to have a preconceived view of naturists. I specifically focused on individuals under the

What event do you consider as your first big break or mile-

age of 30 to challenge this stereotype further.

stone in the industry?

I don’t know really, I guess it was winning the Hotshoe interna-

Where do you see yourself in five years, in terms of your artwork?

tional award in 2008 and gaining my first commission for the

I hope that I will have pushed my image making further, learnt

Saturday telegraph whilst at University.

more, experimented more, gained new approaches and completed a body of work that I feel is successful.

Tell us about this project. What compelled you to create this portrait series and what was your thought process behind it?

Laura, tell us about your influences…whose work do you en-

The idea behind my latest body of work on young British natur-

joy looking at? Who is one of your favorite photographers

ists stemmed from a combination of research and my focus on

and why?

young people in my previous bodies of work. Despite wanting

I have so many! Simon Roberts has and always will be a huge in-

to veer away from young people I found the subject too tempt-

fluence on me. I am constantly inspired by new work both from

ing. I knew that to embark on this project would challenge me

favourite photographers and new discoveries. I relish in viewing

and help progress my image making. With every project I try to

imagery and films so anything that is thought provoking and cre-

think of new ways to experiment, learn new techniques and ap-

ative is always influential. Films, and literature also contribute

proaches. I was also aware that the project would require me

and I draw much of my inspiration from my friends , family and

to be go to great lengths to gain people’s trust and escape my

subjects. To name a few, I have always loved the work of Phillip

comfort zone. To really understand my subjects and allow them

Lorca de Corcia, Alec Soth, Gregory Crewsdon, Ryan McGinley,

to feel at ease I decided to also spend the entire time naked and

Joakim Eskildsen . . . there are sooo so many

.

Red Dot Fall 2010/11

What advice would you give to an emerging photographer just starting out in the business today? What is the most important lesson you’ve learned thus far in the industry?

To stay positive. I hear so much negativity but I think when something is your true passion and interest you can’t help but

“I was also aware that the project would require me to be go to great lengths to gain people’s trust and escape my comfort zone.”

pursue it. Saying that, it is important to be realistic. The best piece of advice anyone gave me was Mark Power. He said just one thing as I left uni: “ Don’t stop shooting personal projects” Your vision and the way in which you decide to communicate is unique and will evolve , it sets you apart from anyone else.. but the best advice I can personally give is . . . enjoy it.

and need to find time to stay in touch! For a chilled moment or two . . . Coco Rosie, Grizzly Bear, Two Door Cinema Club, Zola

We’re really excited to have you on board with Gallery Stock.

Jesus, the xx, Yeasayer and my very talented friends Esben and

One final question we like to ask our new photographers . . . who

the Witch to cut some shapes to: Jurassic 5, DJ Abdominal, Be-

is getting a lot of playtime on iPod right now?

yoncé ( guilty pleasure), Beastie Boys, Chemical Brothers . . .

Ooooooo it all depends on the mood I’m in . . . weather and scenery . . . I love music but I have a shameful . . . shameful playlist

Cheers, Laura!

.

Red Dot Fall 2010/11

Laura Pannack

Tom Nagy

.

Red Dot Fall 2010/11

Big Report .

Red Dot Fall 2010/11

Francis Frith

GEORGE EASTMAN HOUSE

.

Red Dot Fall 2010/11

Édouard Baldus GEORGE EASTMAN HOUSE

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