Meet the Photographer
SARA J. GRIFFIN
Sensual in Film
A FORCE OF NATURE BEHIND THE LENS
Sara J. Griffin is currently based out of Phoenix, AZ. She specializes in portraiture and event photography (such as weddings). Her roots are in Fine Art (particularly black & white film photography), such as what's on display here. She loves figure art and has been doing that for a long time - photographically and with multi-media art.
STYLE & IDENTITY
What’s your signature as a photographer?
I love doing dramatic/cinematic style, but I am also experimental and enjoy mixing it up.
How would you describe your visual style in 3 words?
Dark and moody
What’s something unique about how you shoot or approach a session?
I often approach sessions openly, “organically”, experimentally, and playfully. I “warm up” and allow the creativity to unfold, through evolution and adjustments. I will usually have some sort of vision going into a shoot; but oftentimes it evolves into something much more awesome. Sometimes I just raw dawg it and jump right in with very loose ideas, and then allow the creativity beast within take over and create what it will on the spot!
STORYTELLING
Tell us the story behind one image you’ll never forget.
“Bug” I believe this was taken during the first session I photographed with this model - a fellow classmate at the time. This was the first time I was using this style of lighting -ambient through a “cookie cutter”. She lie on the black plexiglass and I maneuvered around her. I was shooting formally and aiming to keep the model anonymous. I looked for abstractions, but couldn’t resist some of the beautiful figural compositions that were being revealed to me. The light caught her pose in such a way and reflected her little bug tattoo on the black plexi. You couldn’t see it on her body at the angle it was shot at, but you could see it in the reflection. That little detail just made me internally ecstatic. I felt it added another dimension and fun to the photograph.
What do people feel when they see your work—and what do you want them to feel?
People feel struck, perhaps? (I’m not sure what people feel, everyone is different.) Hopefully they feel something profound, poetic, and touching on some deep, indescribable, sensual, intimate level.
What’s a photo you’re most proud of, and why?
I’m pretty proud of all these babies, That’s why they needed to be resurrected so the world could see them. Within this series, I’m very proud of the couple photo: “The Caress”. I feel this takes intimacy to a new level. The hopeless romantic mind could develop a whole fantasy and feeling, while keeping it sensual and classy.
PROCESS & PERSPECTIVE
Walk us through your creative process—from concept to final edit.
Sometimes an initial vision strikes like lightning, then there’s a whole lot of percolation, time, and evolution, and working magic that happens. Nothing is ever cut and dry!
How do you prepare for a shoot?
Pre-location: I plan what I need for execution (especially if props may be involved). I get all gear ready, charge batteries, make sure I have the memory cards (or film) together, consider and test gear and lighting. When I arrive at the shoot site, I scan the environment for anything I can use. Somehow all the dots get connected and creativity unfolds.
Any rituals or must-haves?
You definitely have got to have your head in the game! You almost need a little OCD to pull it all together from start to finish! (Lol)
You always need some sort of planning and preparation: from scheduling, to checking equipment, etc - though it seems boring it’s practical and necessary.
Current rituals:
The night before: I get equipment ready.
I lay out the gear. I think about the vision and lighting. I select appropriate lenses. I test everything and set the settings. I pack everything and put it by the door.
The day of: I always need a good breakfast with lots of protein. I pack any last minute things I think of. I schlep it all to the site. If scheduled properly, (if it’s a studio shoot) I have plenty of time to set up all the equipment and such. I test everything again and make adjustments. Sometimes I need to do a little box breathing before all other parties arrive. If it’s an event - I arrive early and scout out the scene. I take preliminary shots, test equipment again and make any necessary adjustments.
RE: Gear: it depends on conditions, vision, subject(s), and desired outcome.
(Film): I still like my Canon Cameras for film.
Nowadays if you are shooting film, you need access and a means of processing film and a high resolution scanner.
(Digital): Mirrorless is it now. I still like primes (I.e. 85mm 1.8 ) for very low light situations, otherwise I typically roll with my Sony A7iv, A7C, Tamron 28-75 /2.8, and Tamron 70-180/2.8.
(When I get the capital you better believe that I will upgrade to A7RV (or better) and some G Master lenses.)
For now what I have serves its purpose.
As far as editing software goes: Lightroom Classic and Photoshop are musts for me. I’m not currently operating in a dark room (film), though I miss it dearly.
What’s the most unexpected thing photography has taught you?
The gear and accessories are insanely expensive! Technology changes - and fast! Your skills and vision can develop, grow, and be refined over time. Use the right tools for the right job.
When you know and utilize your fundamentals effectively, you’re always gold.
What do you want your work to say about you, even when you’re not in the room?
LEGACY & IMPACT
This is an artist who is sensitive, skilled, and impactful. (Or just plain “Wow.”lol)
What do you want to be known for—as a photographer and as a creative?
It would be awesome to be known as a Force of Nature.
If someone’s looking at your portfolio 10 years from now, what do you hope they see?
Growth.
I’ve already been in the game for decades. When I look at some of the stuff I did years ago vs now - especially with my portraits, I definitely see growth!
Possibly more celebrities, too.
PERSONAL REFLECTION
What’s one truth about your creative journey that’s stayed with you?
It picked me, and doesn’t want to let me go.
What’s something about you people don’t usually see in your work—but should?
There is a lot of thought, work, education, and expertise that goes into the entire process - each and every image.