New York based photographer Sofia Colvin proves that fashion photography is not just about clothes. “From the clothes to a beautiful environment”, she says. The dialogue settled between the garments and the environment in her pictures leads to overwhelmingly nostalgic images, in which not only clothes and models play a primordial role, but the environment that surrounds them acquires a new dimension and enhances the strength of the image. We talk to her to find out how she approaches her work and how she managed to shoot for some of the most relevant fashion magazines.
Hello Sofia. Could you explain us where do you come from and how were your beginnings in the field of photography?
I currently live and work in New York City. My interest in photography began in my teen years; my friends and I would dress up and model for each other and from that point on I wanted to create sets and tell stories.
I guess every project has its own specifications, but in general terms, what do you want to convey when you take a picture?
My photographs are simple, but I pay close attention to the small details. When people view my images I hope they see the beauty I’ve found. Wanting the viewer to look closely at the small hand movement, body posture or location is important to me.
You started focusing more in landscape and architecture, investigating space’s features and conditions. Did you know from the beginning that you wanted to approach fashion photography?
My interest in space comes from all the travels I’ve done; I can’t even take a relaxing vacation without wanting to scout a new landscape. I really knew I wanted to work within the fashion photography world because there are no limits or guidelines. The creativity is endless, from the clothes to a beautiful environment.
As regards location, do you feel more comfortable shooting indoors or in live environment?
Indoors and outdoors are obviously very different. The easier of the two is indoors, but I love working on shoots when the location is unique. Outdoors is always more challenging, but it offers a greater reward as well.
In your series To make a mirror you create a soulful dialogue between clothing and nature, the surface and the texture of the garments melt with its surroundings and blends with it. How did you come up with the idea and why did you decide to appear yourself as a model in this series?
I love getting lost in vast natural environments, and I appreciate fabrics, clothes, and good design. When I began this project I wanted to blend in to become one with each location and not disrupt the natural beauty. The project was personal and photographing myself seemed the only option.
When you work on your own projects, without any limitation by a client, would you say that you produce conceptual imagery?
A client always has limitations, so when I am able to have my own creative freedom personal narratives come to the surface.
You have a portfolio rich in clients including, among others, Teen Vogue and Harper’s Bazaar India. How did you feel when they reached you?
When larger clients take notice of my work it’s always a compliment.
Tell us a place where you would like to get lost with a person to photograph.
I would love to get lost in the American West. The landscapes in Utah are overwhelmingly beautiful and I wouldn’t mind getting lost for a week or so.
What inspires you? Has it something to do with the cultural panorama of a city as effervescent in artistic terms as it is New York?
I am surrounded by talented artists all the time. These people help me grow and see the world through their eyes, which only broadens my visual horizons. New York is inspiring because of the hardworking people in the industry.
