In ‘BANDS’, viewers can get a close look at Sarah J. Edwards’ iconic, film still inspired photography and Sally A. Edwards’ art direction, now showing over 100 images.

 

Sarah and Sally’s ethos is that each shoot aims to portray subjects as naturally as possible. Taking an organic approach, with zero to little in the way of retouching and essential lighting only. Sarah uses singular spot lights normally reserved for film sets or natural light and focuses on creating the right atmosphere as a priority over technicalities. Sarah and Sally believe making striking images for BLAG are born out of bringing key ingredients of humour, story telling, respect, down-to-earth scene setting and specifically created soundtracks to each session. 

 

Self-taught, Sarah chose not to be confined to technicalities due to witnessing many photoshoot sets herself. While modelling and working in music publicity, she often found herself up close to some of the world’s leading music and fashion photographers, “As many sessions were very limited on time, I gladly offered to assist rather than just watch, I was often accepted because photographers who were working alone and we already had a reputation for making images for BLAG as a fanzine.”

 

It was the day Sarah and Sally were photographed by Corinne Day for the cover of Placebo’s ‘Without You I’m Nothing’, Sarah decided to take her love of the craft further, “I was ecstatic about being asked to do the shoot because Corinne Day was so well known and loved for her images of Kate Moss,” says Sarah. “I thought, ‘Wow Sally and I will look as cool as Kate!’ I realised that day, well...for one, no matter what level of technical skill you have, making subjects feel right for the image is absolutely key,” she explains. ”The shoot was incredibly serious and was actually pretty intense and intimidating for us. It was no-one’s fault, Sally and I just weren’t at home as models. I thought we were going in to look like a pair of little rock stars, instead it was extremely meticulous. Corinne directed us to the millimetre, I’ve never forgotten it. I took a lot from that day. How she worked with her assistants and team — who brought so much to the shoot too. How just looking in a particular direction, holding your head that tiny bit lower, so many single details that go into getting the shot. Secondly, I really thought about how I felt, how you have absolutely no idea what this image you’re creating with them looks like and really there’s very little you can do apart from take instruction as best you can. Just moulding yourself little by little to what is required. I always think about that, it’s very vulnerable.”

 

Mixing that experience with her dreams for BLAG, really made Sarah look at photography very differently, “Sally and I went on to figure out all the elements we could bring to our shoots from our own experiences. I thought about the times spent both sides of the camera and wanted to come up with a set of principles to stick by which nicely balance serious and fun — getting to know subjects as best as possible quickly and making sure they feel good and respected. At the same time, keeping the focus off that absolute self consciousness, so we always bring music and humour to set. Creating the right atmosphere can really transform the location whether an empty studio or a lavish spot. Albeit a lot of my photographs show a seriousness, the experiences between are filled with laughter.”

 

Sarah has also been commissioned to shoot for Rolling Stone, i-D, Dazed and NME. 

 

Exhibitions feature some of the world’s most admired artists featured in BLAG from Beastie Boys, OutKast, Franz Ferdinand, N.E.R.D,  Broken Bells, Slash, Justice, Amy Winehouse and many more.