sally mann

I have been reading Sally Mann's book "Immediate Family" this week. As well as researching her other work online. I didn't realise she was also the photographer working with documenting the decomposing human remains. I've seen this documentary and thought it was amazing. In hindsight now I can see this slant in her family work as well. Something about it is slightly dark around the edges.

I just love her work though and flipping through the book for the first time I was initially a bit taken aback at the nudity with her older children. It's not something you see often nowadays and it's one thing to see a baby or toddler nude but seeing an 8 or 9 yr old was surprising to me. From reading about Sally this is exactly how she grew up, running around wild and naked and free. By the time I had got to the end of the book though all I could think about was what a wonderful childhood they had, completely free of all inhibitions, swimming in the river, eating crisps and seemingly sleeping where ever they dropped to the ground.

Sally Mann, White Skates, 1990

There is so much to take away from her work. The way she uses light is amazing and her compositions are intriguing and captivating. Sometimes I found myself a bit annoyed with the messy shots though. Blurred dogs and plastic spoons on the ground. I guess my love of balance is making it harder to appreciate them for what they are, beautiful biographical moments in her children's childhood. which from the sounds of it was her main intention for documenting her children. All the real moments not just the staged ones. I also really appreciate the uniqueness and quirkiness to her photography. I think it's wonderful she has her own commanding style that is so recognisable.

Sally Mann, Easter Dress, 1992

This shot of her son Emmet below is one of my favourites of the book. The high angle of view (which is higher than an adults eye view), his hands across that water -looking as if he is almost controlling the flow, the strong, confident, 'mature beyond his years' look in his eyes and the light reflecting on the water framing him. It is all perfection to me.

Sally Mann, The Last Time Emmett Modelled Nude, 1987

One of the things I'm picking up from her work is her use of white things in the frame shot against shadow. The white or light clothing pops out and draws your attention instantly. When this is against a darker or shadowed background it looks even more effective. Certainly all the pale skin of her nude children also achieves this effect as well. Something to think about when shooting in black and white in the future and I will incorporate this into my shutter speed assignment by how I choose to dress Milla.

Sally Mann, Candy Cigarette, 1989

Sally Mann, Untitled. From the 'At Twelve' Series.
Here the white chair contrasting with the shadows 
with the light behind is fantastic.

Another thing I have noticed with the way she uses light and the way she processes her images - is the way she highlights her nude child with a lighter exposure. It gives them an almost angelic, ethereal quality and is so beautiful. It also doesn't look like anything you could see with your own eyes.

Sally Mann, The Perfect Tomatoe

This next photo Sunday Funnies ejected me straight back into my childhood. I used to read these every week and I just love the sense of family and closeness her children have all sprawled together on the bed. The graceful position of Jessie's arms and her holding her toe for balance is very unique and makes the shot much more interesting than if she was just simply lying there. Again the balance of the white whites and the dark edges to the image make it look fantastic.

Sally Mann, Sunday Funnies, 1991

The images I am drawn to the most from her work are the ones that capture all the unstaged growing up moments in her children's lives. Ones like The Wet Bed below. This is not a usual thing for a mother to photograph but because of this it feels so real and authentic at the same time as being beautifully lit and composed. A sleeping child is always mesmerising to watch and this one is no exception. Just stunning. I think I used to have this exact same bobble blanket on my bed when I was little too!

Sally Mann, The Wet Bed, 1987

The last photo I wanted to show is from her early work and I was drawn to as something about it is very familiar to me. The light coming in through the window, the cup of tea and her long brown hair. I think she reminds me of my mum when I was a little girl. So simple, gentle and beautifully executed.

Sally Mann, Untitled, 1971.

I think one of the biggest things I can take away from Sally Mann's work is when I'm photographing my family (or anything in a documentary style) to not focus on perfection within the image. Not everything should be perfectly balanced or even just trying to be perfectly perfect. All the imperfections are the flavour and the honesty and integrity in the image. It may even be the most important part of it in the end. Perhaps the thing the viewer can identify with the most. I think it is all the imperfections that add to the magic in all of Sally's work for me.