eARTh photostory

eARTh photostory

eARTh photostory locationLondon, UK

(1 Review)

My style is most often described as creative documentary in the tradition of humanist photography. But it's the story-telling part of working as a photojournalist that has the most influence in combination with my editorial photography which shaped my wedding photography approach

eARTh photostory Reviews

eARTh photostory Reviews

Review of eARTh photostory by Nelly & John
5 06/05/2016

We were extremely lucky to have Panayis photograph our wedding. The memories he captured were priceless, and every single shot spoke so much of the joy the two of us and our guests had on our big day. Panayis was lovely in the run up and on the day itself, extremely responsive and an absolute pleasure to our guests and family. He made us all feel very relaxed. I don't have enough good words to recommend him and his work, his shots still move me to tears.

Nelly & John

eARTh photostory

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Google Reviews of eARTh photostory

Google Reviews

Review of eARTh photostory by Ingo Klein
4 weeks ago

Very unprofessional. Cancelled appointment five minutes after it was supposed to have started! Avoid.

Ingo Klein
Review of eARTh photostory by PANAYIS CHRYSOVERGIS
2 years ago

Review of eARTh photostory by PANAYIS CHRYSOVERGIS
2 years ago

eARTh photostory on Google Maps

eARTh photostory Location

Flat 9, Bishops Mansions, Bishops park road, London, sw6 6dz SW6 6DZ, UK

Services provided by eARTh photostory

eARTh photostory Services

Wedding and Events photography


3000 and Some

2015 a total of 770.838 refugees’ arrivals by mediterranean sea in hope of escaping war. 154.167 children, 107.917 women, 508.754 men. In all 3,440 people have died or gone missing this year crossing the Mediterranean Sea. If we were to give only one word to define life, only one possible picture would come to mind, breath. Breathing is the only thing for sure we know means we are alive. It is our gift to earth before we die. Our life depends on this essence.To undertake this work, underwater, I demanded that the models overcome their fears and anxieties about suffocation - of not breathing, of not being alive for some time. Just for a photograph, or for a pose, their faces would reveal what it feels like to be deprived of air, to lose life and freedom.I chose my native Greece and its Mediterranean sea bed as by far is the largest single entry point for new sea arrivals in the Mediterranean. I asked the people to trust me and to follow me seven metres underwater in a completely alien environment for human beings.By picturing them underwater as they would be dressed on dry land, I wanted to show how dependent we are on that breath. Here, like on dry land, being deprived of air would make us suffocate. And it is the look of panic and distress caused by the deprivation of what makes us alive that I wanted to see on their faces. I sometimes saw the fight for survival in their eyes. A look that says, “I promise you that I will do anything to stay alive.”Underwater I was the only one who could provide them with air. I was in charge. I was the one to rely on for hope.At time they were calm, they knew I was nearby.Hope for this air can sometimes leads us so far away from our origins. It is a desire for survival, fleeing asphyxiation and oppression.This air that we breathe, after being deprived of it, feels like liberation.But this sudden rush of air that fills our lungs will never give us true freedom.

Never Never Land - Published in ID- Magazine

Once upon a time, while being enchanting Paris, I was looking for Never Never land but instead I met Luna Dark…. It was a land like no other, a place where children never grow old, a fantasy world where everything seems ideal, but was it really? A theme park is a place where we step out of our stressful social boundaries, search for the limits through speed or even terror. I tend to believe that once I arrived there, I was subconsciously transformed and set myself free. At the same time, I was the witness of a particular borderline state; I was observing people been lost in the space-time continuum/ in between childhood and adulthood. This internal conflict may have created the empty look on people’s faces that I was haunted by. I visited this place after the completion of my work “Heterotopia” and in my surprise I realized that I was dealing with another form of heterotopia, i.e. a place where utopia, that is the fantasy, obtains a material dimension. I was expecting to meet boys and girls who would come here to relive their childhood…What are we really looking for in a theme park? What do we hope to find in such an artificial world that has a potential capability to bring us back to early childhood memories? It is a world where you can scream, crash each others bumper cars ,pilot a helicopter, fly, jump, use a gun, gamble, be a winner, enjoy waffles and all this in just a couple of hours! I was impressed by the diversity of the visitors and how the age of the users changed so radically depending on the hour of the day. During the day for instance, it was mostly children and younger adults, but as the night fell, I could see mostly adults. What impressed me initially was the security measures: Change to people where electronically searched prior to their entry in the park and the police where highly visible and in large numbers once it got dark. This contradiction between a dream place that could possibly lead people back to their stress-free childhood and the strong security at the place urged me to question how this transformation day to night came about. I desired to search deeper in this transformation and present my own reflections, even my own reality of this transformation. This is what photography is all about anyway in my eyes; I pose questions in order to challenge stereotypical or normative perceptions of an image. This is precisely what ignites my imaginations. For me, a picture constitutes a challenge to see the world differently. And the park after dark was giving me another reality, where I could meet “ grown up” children were vacillating between adult sexuality and childhood tantrums. Sexual attraction, this powerful primitive instinct mixed with violence. I interpreted this dynamic as the erotic attraction that one finds between the two sexes which, in this context, brings up the primal instincts of dominance by the alpha male. The more the time was passing by, the more Luna Park was turning into “Luna Dark”. A world where we all can meet our dreams, find out our inner wishes, a world where one can invent their persona. People’s faces are now still moments of innocence through photography that is never innocent.

Abandoned Nest - Published in Guardian

Has nobody ever told you about my country? Do you not already know all about Greece? About its condition, its degradation, its agony? The cradle of Western civilization, the cradle of democracy, the cradle of antiquity—how long have you been watching it suffocating? The media have heaped on you so much: testimonials, figures of extremist threats, images of riots and protests. All those expert analyses told to us through a prism of information that we could comprehend. And all this was necessary, of course, to try to understand what was going on. But does it all really convey the magnitude of the crisis? A crisis that criss-crosses the country from end to end, like a sword slashing at a body? Can this crisis be read through images? Who, from the outside, can understand the pain of loss and abandonment? The feeling of leaving and abandoning everything we had built—all of us, each of us. These abandoned places, the gutted houses, these unfinished hopes for a life. They litter Greece. They testify to a flourishing past, to a life once full of abundance, to expectations mown down in mid-flight. I meant, by these images, to show that which we do not normally get to see. Misery like an implacable sentence. And here, the misery is so especially grim because it has become general. No one escaped its cleaver.

Auschwitz - La memoire de Barbarie - Published in Le Monde

The book "Auschwitz seen by ss", is a collection of three testimonies written by SS, based on the concentration camp. It was the starting point of my work, in which I record everything I witnessed at the place after I read these testimonies. This book was what inspired me to go and see hell, face to face as well as the beastliness of man. My journey will produce 20 black & white and colour diptyques. Because my approach to these images is descriptive, I did not want any caption or text to accompany them. But what word is there to describe such wretchedness? We are obliged to look at this human mystery straight in the eye, this huge paradox that created a human being which, while being endowed with sensitivity by nature, he is proved capable of commiting the greatest brutality. We must always remember this brutality. Here the picture describes but it does not narrate. I present isolated images that combine diptyques as a series of images through time and space that can lead the viewer to thinking - like forming a specific vision and mainly more personal. The black & white images invite us to imagine and travel in the past, while colour brings us back to present and this complexity forms a visual context in which we travel and through which I force all of us to put captions to my images and execute both my and your duty to remember.

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