Photographing the London Landmarks Half Marathon
Quite recently I noticed a method I have used for many years of making and viewing photographs: observe, familiarize, shoot.
The first time I consciously acknowledged this method was in April 2022. I was studying at St. Mary’s University just outside central London. I saw a sign for the London Landmarks Half Marathon the night before it happened. Despite my running background I was most excited to photograph an event that would essentially shut down all car traffic in the busiest parts of the city.
I decided to take the early train so that I could have some time before the race began. I have run a few half marathons as well as for my high school in the past. I was looking for nostalgia from the quiet excitement and anxiousness that accompanies many spectators and runners before a race. It was during this time that I captured some of my favorite photographs that day.
Despite the thousands of participants and spectators the city felt quiet. What was even more remarkable was my mind associating the stillness of the city with the feeling of waking up in northern Michigan as a kid.
I’ve always believed that what makes a memorable photograph is its ability to invoke familiarity within the viewer. The same holds true for photographers as they are the first true viewers. In order to achieve a sense of familiarity the photographer has to familiarize themselves with their surroundings literally and figuratively. In this case I felt drawn to the same sense of tranquility I remembered feeling from northern Michigan.
As the day progressed the low muffled voices of the morning turned to cheering words of encouragement. During these moments I became even more acquainted with my surroundings by talking to those around me.
I had come as someone who enjoys running and photography. Instead the day began with an overwhelming flood of childhood memories of mornings spent sitting at the end of a dock in northern Michigan. These memories appeared to have no connection to an event and a city almost four thousand miles away.
This was when I realized that I do the same thing almost every time I take photographs. Calling upon my memories and emotions has allowed me to familiarize myself with or become comfortable in almost any situation. When I look back on my photos I can tell whether or not I have taken the time to observe and familiarize myself prior to shooting. How I relate to the scene influences my photographs creatively. For example many of my photographs from this day show negativespace. Negative space is typically how I capture peace and stillness which is what I felt before and during the race. The peace and stillness I related to originated from an entirely different place and situation. However, I allowed the comfort ofmy memories of northern Michigan to be my guide.
The point being that (I think) in order to make interesting photographs the photographer needs to observe their surroundings long enough to find themselves truly in it both physically and emotionally. When you can relate to the situation you’re in, whether you have to dig deep or just surface level, you become familiar and more comfortable. In turn this strategy has allowed me to relax while still creating intentional and meaningful photographs.
My advice? Give it a try. I would love to know if it works for you too.
Grace
