Gianluca Panella | From the News to the Storytelling

Gianluca Panella

How can we extrapolate from a news story more intimate and in-depth that goes beyond the news, giving the point of view of the author. A photographic language capable of supporting both the logic of the market, that a vision more in-depth, less commercial. What are the tools to find a story more ‘staff in the news?

I am born in the newspapers and I’ve always seen my work related to publications, communication and journalism. Works that I’ve done have always started with a news, so I can share my creative process in dealing with the news. Creed may be interesting and very contemporary, being the direction that increasingly is taking the professional photojournalism.

Gianluca Panella is an independent Italian photojournalist focused on social reportage, current affairs, and portraits. He has traveled to the Balkans, Egypt, Haiti, Israel and the Palestinian Territories, Lebanon, Morocco, Sudan, the United States, Europe. His photography has been featured in a variety of Italian and international publications.
After a background in Political Science, he began as a self-taught photographer. He than studied photojournalism with Leonardo Brogioni in Milan before starting his career with local daily newspapers. In this same period, he met Romano Cagnoni who instilled in him the ideal of photojournalism as a deep responsibility. From 2007 to 2011, Panella collaborated with the MassimoSestiniNewsAgency, producing work for the mainstream Italian press.
Panella ended his collaboration with Sestini’s agency in order to dedicate himself to personal projects, among which Tanit Project, a documentary work on the Mediterranean Sea that retraces the routes of ancient Phoenicians by sail.
His work Gaza BlackOut won the World Press Photo 2014 third prize in General News Stories. His work has been exhibited at Festival of Ethical Photography, Foto8 Summershow and at the Royal Shakespeare Company. He is a member of Italy’s National Order of Journalists since 2004.

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