I’ve been employed to do some group photographs for a couple of clients recently. There are challenges to groups, especially if you’re the sort of photographer, as I am, that aims to capture documentary-style candid shots and tends to avoid set-ups like the plague! One of my biggest influences is photographer Shirley Bakerwho insisted her photographs were never posed, saying that she shot around the people in her images. What’s more, in everyday life, I tend to find it easier to relate to one or two people at a time rather than large numbers. However, group shots can be fun and families, especially, love to have them for – but they take a little planning. Things to consider might be, can everyone be seen and lit, is there enough space, is it possible to create variety of heights? If not, how can these challenges be overcome?
A friend of mine sent me a picture he’d taken on a school trip. In it, you can see about 20 or so 11-year-olds sitting on a wall and the steps in front of a church. Plenty of space! They are separated into smaller groups. Sometimes hands and arms are linked. Other times, individuals lean nonchalantly against the wall. Various levels were achieved. It was taken on his phone on cloudy day so the lighting is even and just right for the shot. Different characters emerge from the various ways in which each child has been captured and yet they’re a clear collective. It’s a wonderful photograph because there is a freedom in it that can be tricky for paid photographers to capture. I must let my friend know how much I like that picture – he’d be pleased!
In preparation, as well as thinking about amateur shots I like, I have also been revisiting famous photographers. Of course, Annie Leibowitz springs to mind, and you can see her group work analysed here, which is helpful, although one risks being bogged down. While Leibowitz’s covers for Vanity Fair have become iconic and she’s definitely a good reference point, it’s important to recall that she shoots the whole picture over several days, capturing two or three subjects at a time, and then stitches them together with the rest of the crowd in Photoshop. I once read someone describe her style as fascistic… which isn’t quite what most families are after, although I can think of one or two corporate clients who might like that kind of thing. Either way, I think I prefer to look at Irving Penn’s groups shots. His photograph of famous New York cartoonists and another of famous photographers (all male, unfortunately) are great to study if you’re planning a group shot of your own.
I’ll have my work cut out for me at my next job where I’ll be required to capture about fifteen very large group shots in a relatively short space of time with minimal lighting! Let’s hope I’ll be channeling Irving Penn on the day, but I shan’t forget to recall the super shot my friend shared with me either. In the meantime, here’s one I took several years ago during a family shoot that I’ve always really liked.
I know I am in a similar boat to many other photographers who have endured a year and a half of barely any events to photograph! However, I am happy to say that work is beginning to trickle back. And what better way to reintroduce myself to the wedding scene than to share this beautiful occasion. Liz and Bayly are a wonderfully thoughtful, kind couple who went out of their way to hire local contractors and make their intimate wedding an opportunity to support local business, as well as celebrate their vows with close family and friends. Thank you to both of them for sharing their day with me and allowing me to share it with you. Below are a handful of moments from the event, some of which I’ll definitely be adding to my website.
In the meantime, do enjoy these pictures of this lovely family having a wonderful wedding in Wandsworth!
Some readers of this blog may have forgotten it ever existed! To be honest, I’ve ignored it for a while. I started it several years ago and routinely made an entry, almost every week to begin with. In 2016, however, I slowed down. Several momentous things happened that year (you may remember), which made me think that wittering on about my photography seemed silly and pointless when so much awfulness was taking place across the globe – and although I tried, I couldn’t find a way to reconcile my disquiet. I gradually stopped writing the blog altogether and just shared images as and when they came, on Facebook and Instagram. But lately I have felt that a blog might have something to offer again, although I’m not sure I’ll be writing quite as often, nor as personally.
I have also recently finished a second degree (currently awaiting results) and am hoping to begin an MA in September. So there is a natural hiatus and it could be the right time to abandon a blog altogether! On the other hand, as we emerge from Covid lockdowns and life gets back to normal, there may be some life left in it yet. The journey I have travelled on my studies has been quite adventurous and the work I ended up making at the end of my degree, and will continue into further studies, is very different to what I made at the start of the course. Well, that’s the point, isn’t it? To explore. But it’s not quite what is expected of a commercial photographer.
Some of you may have noticed a name change at the top of this blog. Because of the wildly different work I have developed, after lots of to-ing and fro-ing and wondering and pondering, I have decided to separate the names that head up my commercial work and my more experimental meanderings. I will continue to be the same photographer but I will keep these two different strands of my work completely separate.
If you’re interested in the multi-disciplinary ramblings of my on-going inquiry into systems change and its relationship with media, as well as some occasional documentary photography, then please do follow Sarah-Jane Field at www. sarahjanefield.com on Instagram and Twitter.
I’ve no idea what to do with LinkedIn! I’ve never understood it, but maybe in time it will make sense to me.