My photobook contained over 40 images ranging from photos of the beach, rocks, landscape and history. Shown below are some of my favourite images throughout my rock project. All images below have been used in my photobook layout.
Photobook Preparation:
To begin our main mock preparation, we researched and deconstructed photobooks to help further understand how to create a good book. I looked deep into a photobook named ‘Beyond Here Is Nothing’, which taught me how to construct a book and write a good essay.
Leading up to our mock exam, we did many different photo shoots and small projects to be prepared for our essay and photobook. We went to La Hocq, L’Etacq and many other places. I created a photo-zine which is similar to my final photo book.
Photo-zine
Also, we made 3d sculptures using foam board and paper to present some of our images from the My Rock project. This gave me some inspiration about what images can be used in my photobook.
3d photo sculpture
To help with writing my essay I was tasked to write an essay on photo archives. I believe this was very useful for me because it taught be essay techniques and structure that was needed when writing our recent essay.
Project Evaluation:
Overall, I am very happy with hoe my project has turned out. I really like the way my photobook displays both L’Etacq and La Hocq’ beaches in a layout that suits me best. However, next time I will definitely make sure that I go on photo shoots relating to my essay, as for this project I didn’t gather any images leading up to the exam, because of that I had to use photos from past projects to create my book.
What went well:
I believe my overall editing process has gone very successfully when linked towards the layout of my photobook. Also, I think that my essay was written in a quality manner writing over 2000 words. My use of image selection has very much improved since our last mock exam by choosing images that are much more useful and related to the topic.
How can I improve:
I defiantly could’ve went on many photo shoots that linked towards the topic of my essay ‘Youth Culture’ rather than having to use past images of rocks and beaches. Also, next time I create a photobook I need to gain more images that could be used in the book due to this time I only had around 50 useful images when next time I want to gain at least 100.
Overall, I think my gallery was produced with a good layout. I like the way the black frames mix in with the colour of the rocks and creates a contrast. I think the three photos of La Hocq tower shows a great sequence whilst contrasting against each other.
To begin my photo book, I decided to further explore the topic of Islandness. I gathered up images from past and present photo shoots all containing the subject of rocks, ocean, beach and even history. Overall, I rounded up to around 500 images that could possibly be useful for my photobook.
Contact sheets:
After importing my images into my lightroom collection, I organised them into colour ratings to depict which images I wanted to work with in my photobook. In the end I rounded up around 60 images that have been edited and were most likely going to end up in my book.
Small selection of my 60 favourite photos
I then began by letting lightroom create a default book to give me an idea and a slight start for my photobook. At first, the default book looked very messy and disorganised until I played around and got an idea of producing the first half of my book with images from L’Etacq and the second half of my book being images taken at La Hocq.
First photobook mock
I decided I didn’t like the way this book was layered out and began my image placement again. I narrowed down my images even further and displayed them in a new layout which I much preferred.
Page experimentation:
After finding a layout I liked the most I wanted to experiment with different basic colours for the pages of the book. At first I started looking at grey and believed it wasn’t very effective.
Grey paper
Next, I tested out the black paper and couldn’t choose between using either white paper or black. I looked at how the book would look with all pages black and finally decided to use black.
Black paper
Photobook final outcome:
First half – L’Etacq
Front cover and back cover
I chose the title of Rotchi Jerri because it is Jèrriais for ‘Rock Island’. My book displays rocks from our island which is a big rock. The use of rock island describes Jersey in a good way as it is surrounded by rocks and beaches. Also, Rotchi Jerri is a unique title due to the use of the Jèrriais language that I haven’t seen been used in the title of a book.
Pages 2 and 3
I chose to layout these page as such because they are all taken from the same position but in a different location. Also, I kept these three images together due to the very similar style and colour.
Pages 4 and 5
This photo is on a double page spread because it displays a massive rock compared to two people below. The use of the double page gives the viewer the full experience of seeing all the details throughout the rock.
Pages 6 and 7
I chose to use these two images on a double page because they are the same rock but taken from different positions.
Pages 8 and 9
I chose this image for page 8 and 9 because of the introduction to the black and white images.
Pages 10 and 11
I carried on the theme of black and white to the next page to keep some sort of sequence.
Pages 12 and 13
I chose to use this image on a double page spread because it can almost be seen as two different images, one of the house and one of the rock and scenery.
Pages 14 and 15
I also chose this image to be on a double page spread because of the vibrancies as it ends the topic of L’Etacq and transitions over into more black and white of La Hocq.
Second half – La Hocq
Pages 17 and 18
I chose these two images to be on the first pages of the La Hocq section because when we went on the trip the first area I photographed was the La Hocq towers, keeping a sequence throughout the book.
Pages 19 and 20
Next, I chose these three images to be together because of the black and white theme carrying on. I designed page 19 as it is because of the two similar photos of rocks juxtaposing each other.
Pages 21 and 22
I chose this image to be presented on a double page because it is one of my favourite images and I wanted to display it to full extent.
Pages 23 and 24
These two images are taken of the same rock, but from two different angles, showing the true size of the rock.
Pages 25 and 26
I chose to present this image on a double page spread to display how big the rock actually is compared to the bird positioned on the top.
Pages 27 and 28
These three images were placed together due to the colour of the sky all linking. Also, they are all taken from a similar position, displaying more of the sky rather than the rocks.
Pages 29 and 30
I chose this as my final 2 pages to fit the whole boulder on one page, and to show how small humans are compared to some rocks.
Evaluation:
Overall, I am very happy with how my photobook turned out. At first I was going to use the white paper, but then chose black due to the great contrast between that and the images. My photobook project could’ve progressed much further if I managed to go on more photoshoots, rather than using many past images. However, I like the topic of Islandness and I believe it is a perfect topic for when creating a photobook as it tells people a lot about the island of Jersey and what it is like living here.
How does Laura Pannack and Phil Knott explore a sense of realism in youth culture?
Many teenagers around Jersey seem to complain about having little to do on the island. My project is to portray the youth culture of Jersey through capturing day-to-day life. Photographers explore the topic of youth by capturing ordinary lives of young adults like myself through the eye of a lens. Laura Pannack draws an audience to her work by displaying true similarities of teenagers and her photographs which help older generations understand how a teenager lives their life. She aims to photograph young adults who are less fortunate to show their true meaning in life, whereas Phil Knott photographs youths with a slightly similar culture to my own by capturing ‘typical teenager’ activities such as, skateboarding and racing mopeds. Both of my chosen artists relate to the photographic topic of realism through the way their images depict things as they are, without idealising or making abstract. I have chosen to explore these artists specifically because of their non-conventional approaches, taking a closer perspective of the individuals personal life. By being able to capture these perspectives of individuals in a similar way to these chosen artists will allow me to develop a further understanding of how fellow teenagers live a similar life, yet different in many aspects compared to mine.
Looking at both of my chosen artists, the realism movement seems to have an influence towards their photographic styles. Realism in photography emerged in the early 20th century with the work of Paul Strand who photographed streets in New York that he referred to as ‘straight photography’. Straight photography was a reaction against Pictorialism where photographers aimed to make pictures that were ‘photographic’ rather than ‘painterly’. Photographers tried to visualise the image before taking the photo and included, sharp focus, rich detail and high contrast to produce images of reality. This movement further lead to the idea of Realism in photography where artists desired to portray lower and middle class as the way they were in reality, creating the belief of importance to view the world more realistically. The Realism movement began during the early 1920s due to photographers being rather concerned with how images can be manipulated to portray different ideas to the viewers. During the movement, photographers created artworks that were as realistic as possible which lead to many artists making a name for themselves such as Walker Evans. Evans was one of the most influential artists of the 20th century and has a ‘realistic’ approach to the photos he is documenting. He took up photography during the year of 1928, stating that he was influenced by Eugène Atget and August Sander. Walker Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. However, he gradually moved away from this aesthetic style to develop his own and more reticent notion of realism. Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway documenting everyday life for citizens of New York, which led on to be one of his most influential series. Walker Evans made fellow Americans see The United States through the eyes of poverty by introducing a new style of photography to document individuals of middle and lower class.
Walker Evans, 1938
This image from Walker Evans’, subway series, gives the viewer a sense of realism, due to these people having no knowledge of the camera in front of them . With a 35mm Contax strapped to his chest, with the lens peaking out between two buttons of his winter coat, Evans was able to capture his fellow passengers surreptitiously and at close range. Although the setting was public, he found that his subjects, un-posed and lost in their thoughts with a constant change of moods and expressions-by turns bored, amused, curious, dreamy, cloudy or even upset. Documentary photography can be argued as a reliable source of information, as an individual can learn many things just by looking at an image. These images from Walker Evans’ subway series document and inform viewers about how different the 1900s were especially for individuals of a lower class.
Laura Pannack is a London based photographic artist who is renowned for her portraiture and social documentary work and seeks to explore the complex relationship between the photographer and the subject. Pannack was the first artist I chose due to her distinctive methods of portraying these teens by framing them against their social and cultural background often using narrow depth of field in her portraits. Her artwork has received much acclaim and has been awarded with multiple awards for her work. Pannack seeks to fully understand the lives of those she captures on her camera in order to portray them as truthfully and possible. She says that the culture of these teens often inspire her to take photos, “the strength of naivety and sense of invincibility and wonder inspires me. I like the honesty of young people, the lack of pretence, and most of all they are just great fun.” (Pannack 2020). Pannack says that she is careful when she chooses to approach her subjects, keeping in mind what their reaction to her might be. For her, “The ultimate mistake is when I overthink an approach. I select people on instinct. I try to think what I need to say to make sure they are interested, can trust me, and feel comfortable.” (Pannack 2020). I will be exploring Pannack’s project of Island Symmetries focusing on her overall development of youth culture. Her photo series ‘Island Symmetries’ (2020) captures nostalgic imagery that focuses on the friendships formed in a small community on wasteland called ‘The Cracker’ that stands between two estates – ‘Tibby’ and ‘The lost city’. Keeping her focus tight Pannack positions herself at the key meeting place where young people would flock to socialize. The Cracker in Tipton and Topside in Gagebrook. ‘Tibby’; is a cul-de-sac of residential houses that curls around a small playground with ‘The Cracker’ being an open space of rolling grass lined with blackberries and stinging nettles. Pannack states that, ‘Motorbikes, peds and quads bark loudly every day and at all times.’ She captures these troubled teens in a unique way by trying to include an aesthetic landscape throughout most of her teenage portraitures.
Laura Pannack, Island Symmetries, 2020
This image from Laura Pannacks ‘Island Symmetries’ project displays a lot of meaning to the viewer as you wouldn’t expect a child of his age to be displayed as such. The subject is holding a cigarette which is usually classed as an item aimed at adults, with a lollypop which is a typical element of a young persons childhood. These two items portray a completely different meaning that the subject is still a child but expresses himself in a much more mature way compared to his age. He is shown with a black and blood-red eye, expecting he has been involved in a fight, further proving the kid is more mature than typical kids his age. Pannack aims to involve some sort of aesthetic background in each of her portraits which keeps a ‘photographic’ sense to her images. An image of such varies compared to one of Phil Knotts portraits in the way that Pannack organises her portraits to make the subject pose for the shot instead of taking the image without anyone’s knowledge. This image can be compared to one of Sally Mann’s most iconic images, ‘Candy Cigarette’, where a young girl seems to be holding what looks like a cigarette when in reality it is candy. Sally Manns image is taken in a much similar way to Pannacks in the way the subject is positioned and how the background is out of focus. Both subjects are looking directly into the lens whilst striking a similar pose, holding the supposed cigarette in the same position.
Sally Mann, ‘Cigarette Candy’, 1989
Phil Knott, who is a multinational artist who photographs kids from London to LA, all in a similar portraiture style to present the teens in full detail. Knott grew up around scooter culture and has always been drawn to this specific topic. He became most well known for his portrait photography and his ability to give us a completely unobstructed insight into an individual. Phil Knott grew up with a similar culture to his subjects stating that, “I drove a scooter and they were all around me and where I used to live was like a f****** racetrack.” (Knott 2022). This made him able to understand the culture of the subjects much deeper, which makes him taking these photos a lot more meaningful. He captures youths through a range of photographical approaches by either staging the subject or taking photos of them without their knowledge, which creates a true sense of realism towards the viewers. Knott believe the actions of these teens are ‘harmless’ and ‘rebellious’ and stated that it is ‘quite lovely’ to see these teens being ‘silly’, he states.
Phil Knott, 2019
Here is one of Phil Knotts most famous portraits of multiple children performing typical teenager acts. Knott has set up the camera in an anonymous position to the teens capturing what seems to be a moped meet-up of at least 4 different teens. The teens involved all seems to show something a typical teenager may carry. As you can see, two of the subjects are holding a cigarette or a rollie which is heavily linked to underage children like themselves. This creates a great sense of realism towards the photograph due to the subjects having no knowledge of the sudden image Knott has taken. However, the ‘unprofessional ‘ qualities add much needed character to the shot, making the image seen as if one of the subjects has quickly pulled out their phone and snapped a quick photo. This images shows what boys of this culture usually get up to also whilst keeping some sort of personal feel to the shot.
Laura Pannack and Phil Knott’s work is similar in many ways, however their art differs when it comes to their photographic approaches. Knott captures his subjects using a method of snapshot aesthetic. Snapshot aesthetic is an approach used by influential photographers such as, Lee Friedlander and Garry Winogrand. The photographic style typically features everyday subject matter and off-centred framing which heavily relates to Phil Knotts set of images. As you can see in the image above, no staged positioning has been utilised making the image seem as if Knott has pulled out his phone and snapped a quick photo.
Conclusion:
Overall, these two artists I have explored showcase the idea of youth culture and teenage lifestyle throughout their respective work and projects. Laura Pannack and Phil Knott both capture the youths in detail, they accurately photograph what the children get up to on a day to day basis. The main similarities between both photographers, is that they both fully understand how to photograph the subjects to create meaning towards the viewer. Both of the photographers images make the viewer think and almost create a background story of the image. However, the main difference between both photographers is their photographic approach. For example, when taking a look at Laura Pannacks images it is clear to understand that she stages her photos by making the subject somewhat ‘pose’ to capture in full detail, with Phil Knotts images being taken without the knowledge of the people he photographs.
With Laura Pannack only photographing her subjects in a portraiture approach, it narrows down the sense of realism in her photos. It can remove visual distractions from the background by removing visible scenery to make the image more simplistic. Without including anything other than the subject in her images can make it easier to understand the camera techniques such as positioning, lighting and focus. Most of her youth culture images display an out of focus background which makes the viewer only focus on the subject, which I believe was the aim of Pannacks project of ‘Island Symmetries’.
However, Phil Knott takes a slightly different approach compared to Pannack. This photographic style Knott uses does create a much more visible effect of realism. This is because of how Phil Knott mainly aims to photograph the youths without them knowing he his taking a photograph, to try and capture them with full understanding. This approach is a much more practical way of photographing in an authentic way as it gives a lot more information about the subject, which Laura Pannacks method may not provide.
Who is the photographer? The book is made by Laura El-tantawy
Book in hand: how does it feel? Smell, sniff the paper.
The book is created in a very unique way and has a a very different way of opening it. The cover of the book smells like a normal hardback book with the pages having a slight odd smell.
Paper and ink: use of different paper/ textures/ colour or B&W or both.
The images contained in the book are all displayed in colour with many different vibrant reds / oranges.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.
Most of the images are presented on small pieces of squared paper in a portraiture layout. Each section of the book contains 30 pages adding up to a total of 90 pages.
The images throughout seem to be printed rather than any other methods
Title: literal or poetic / relevant or intriguing.
The book seems to portray a poetic style through the use of images not having much meaning but rather shown aesthetically
Narrative: what is the story/ subject-matter. How is it told?
The story involved is told through the different range of distorted images. Also, in each section there is a few pages stating the topic of images with a poetic story on the other side
Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.
The design of the book constructs a narrative of different weather moods throughout each section
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.
All images in the book are spread out to cover a full single page on each side. It involves inserts of 30 images in different sections of the book that fold-out to be displayed
Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.
The book is edited in a way to make the viewer want to carry on scrolling due to the unique style of images and layout
Images and text: are they linked? Introduction/ essay/ statement by artists or others. Use of captions (if any.)
The book displays around 3 pages in each section giving a 1 word description of what is coming up next and a poetic story that doesn’t have too much meaning
Many teenagers around Jersey seem to complain about having little to do on the island. My project is to portray the youth culture of Jersey through capturing day-to-day life of living on this island. Photographers explore the topic of youth culture by capturing everyday life of young adults like myself through the eye of a lens. Laura Pannack draws an audience to her work by displaying true similarities of teenagers and her photographs which help older generations understand how a teenager lives their life. Pannack aims to photograph young adults who are likely less fortunate than people like myself to show their true meaning in life, whereas Phil Knott photographs youths with a slightly similar culture to myself by capturing ‘typical teenager’ activities such as, skateboarding and mopeds. I have chosen to explore these artists specifically because of their non-conventional approaches, taking a closer perspective of the individuals personal life. By being able to capture these perspectives of individuals in a similar way to these chosen artists will allow me to develop a further understanding of how fellow teenagers live a similar life, yet different in many aspects compared to mine. Laura Pannack’s photo series ‘Island Symmetries’ (2020) captures nostalgic imagery that focuses on the friendships formed in a small community on wasteland called ‘The Cracker’ that stands between two estates – ‘Tibby’ and ‘The lost city’. Keeping her focus tight Pannack positions herself at the key meeting place where young people would flock to socialize. The Cracker in Tipton and Topside in Gagebrook. ‘Tibby’; is a cul de sac of residential houses that curls around a small playground with ‘The Cracker’ being an open space of rolling grass lined with blackberries and stinging nettles. Pannack states that, ‘Motorbikes, peds and quads bark loudly every day and at all times.’ She captures these troubled teens in a unique way by trying to include an aesthetic landscape throughout most of her teenage portraitures. Pannack was the first artist I chose due to her distinctive methods of portraying these teens through attempting to keep the behind landscape out of focus and bring all attention to her key concept being the children. Phill Knott has captured kids from London to LA, all in a similar portraiture style to present the teens in full detail. Knott grew up around scooter culture and has always been drawn to this specific topic. He became most well known for his portrait photography and his ability to give us a completely unobstructed insight into an individual.
Josh Nice is a London based photographer who bases his work as a film-focused photographer who’s printed and self-published a number of zines, often depicting his friends and community in black and white images. Josh creates many different photo-zines and releases them on his website for sale.
Josh shoots all his photos on film and when he shoots a body of work he prints it out in his darkroom to then turn his photos into a project such as a photo-zine, photo book or some sort of print project. Nice states that, “My work interprets the theme of ‘print’s not dead’ very strongly because I ALWAYS turn my work into print. I love the tangibility of my work and love holding it in my hands.”
Josh Nice won a prize and earned a publish in a magazine after submitting his ‘Prints not Dead’ project zine.
“I love physically holding photos or something that I’ve created, looking at your photos in a publication is way more satisfying than looking at them on a computer screen” – Josh Nice
London-based skateboarder and photographer Josh Nice first met the Bordeux-based Perdu skate crew in 2015 whilst they were in London checking out Southbank’s skate spot, a shared love of skateboarding smoothed over the language barrier cracks and an instant friendship formed.
Nice’s latest trek with the French skate crew took him to Berlin for a week. Camera in hand, the photographer documented the group as they rolled around the German capital, hitting up hidden skate spots and exploring the city’s renowned architecture. These candid, black and white images come together to form Nice’s latest zine, titled Berliner Perdu.
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Bibliography
List all the sources that you have identified above as literary sources. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites/online sources, Youtube/ DVD/TV.
Anything that is based on a piece of information or idea that is not entirely your own.
That includes, direct quotes, paraphrasing or summarising of an idea, theory or concept, definitions, images, tables, graphs, maps or anything else obtained from a source
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
Key characteristics/ conventions : to make photography an accepted art form – was influenced by allegory paintings – was to separate photography as an art form from photography used towards various scientific and documentary purposes.
Artists associated: Louis Dagueree, Alfred Stieglitz, Henry Peach Robinson, Clarence Hudson White
Key works: Daguerreotype, Calotype
Influences: One of the key figures in establishing both the definition and direction of pictorialism was American Alfred Stieglitz, who began as an amateur but quickly made the promotion of pictorialism his profession and obsession.
Methods/ techniques/ processes: gum printing, putting Vaseline on a lens, using specific chemicals
REALISM / STRAIGHT PHOTOGRAPHY
Time period: 1915 – up until this day
Key characteristics/ conventions : to photograph things as they were without any manipulation
Artists associated: Paul Strand (inspired by cubism), Walker Evans, Edward Western
Key works: Walker Evans – subway series, The Stone Breakers – Gustave Courbet
Influences: Within the Realism Art movement, artists moved away from the previously Romantic style that had dictated artistic creation in favor of capturing a truthful representation of life. This led scenes, objects, and subjects to be depicted in a meticulous, accurate, and detailed way.
Methods/ techniques/ processes: uses the camera and photograph to gather information
MODERNISM
Time period: 1910 – 1950
Key characteristics/ conventions : clean lines, sharp focus and repetition of form.
Artists associated: Olive Cotton, Alfred Stieglitz
Key works:
Wall Street, 1915.
Abstractions, Twin Lakes, Connecticut 1916.
Chair, Abstract, 1916.
Blind, 1916.
House, Benbecula, Hebrides, 1954. .
Methods/ techniques/ processes: cropping and framing a single body part, distorting and accentuating its curves and angles.
POST-MODERNISM
Time period: 1950 – to this day
Key characteristics/ conventions : explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures
Artists associated: Lee Friedlander, William Eggleston, Jeff Wall, Andreas Gursky
Key works: Postmodernism makes references to things outside the art work…e.g. political, cultural, social, historical, psychological issues
Laura Pannack is a London based photographic artist who is well known for her portraiture and social documentary work, she seeks to explore the complex relationship between the photographer and the subject. Her artwork has received much acclaim and has won numerous awards, among which are the John Kobal Award, Vic Odden Prize and the world photo press awards.
Driven by research, Pannack seeks to fully understand the lives of those she captures on film in order to portray them as truthfully as possible. Perceiving “time, trust and understanding” to be the key elements of achieving this, many of her projects develop of several years, helping her achieve a genuine connection between herself and her sitter and allowing her to capture the intimacy, shared ideas and shared experiences of this relationship.
Laura’s work has been extensively exhibited and published both in the UK and internationally, including at The National Portrait Gallery, The Houses of Parliament, Somerset House, and the Royal Festival Hall in London. In 2010, Laura received first prize in the Portrait Singles category of the World Press Photo awards. She has also won and been shortlisted for several other awards including The Sony World Photography Awards, The Magenta foundation and Lucies IPA. She was recently awarded the Vic Odden by The Royal Photographic Society award for a notable achievement in the art of photography by a British photographer aged 35 or under and the John Kobal Award from the National Portrait Gallery Taylor Wessing Prize.
“I learn most when I walk with a camera; about myself and the company I share. I engage. I stop mentally. I listen” – Laura Pannack
“Laura’s remarkable ability to build trust and respect with her subjects allows her to express a gritty vulnerability that is as sincere as it is elusive to capture”– Terry O’Niell (photographer with similar style of images as Laura Pannack)
Laura try’s to understand the lives of those she captures and to present them creatively. She is a firm believer that time, trust and understanding is the key to portraying subjects truthfully, and therefore many of her projects develop over several years.
This particular approach allows a genuine connection to exist between sitter and photographer, which in turn elucidate the intimacy of these very human exchanges. Her work aims to tell and inspire stories. She states that she “wants to connect and emotionally engage with you.”
A vast amount of Laura’s images are portraiture. For my personal study I am going to include less portraits and try involve the teenage atmosphere and surroundings. I will try take images of common teenager acts around Jersey with an interesting environment and subjects.
