Visual Essay: Sophie Ellen

Film or digital? Award-winning UK photographer Sophie Ellen says why not both, mastering techniques and uniting formats in her compelling and enigmatic editorial images.

Sophie Ellen 30
Woman sitting wrapped in a colorful fluffy cardigan on a window bench. Photo by Sophie Ellen

There is a beautiful warmth to photographer Sophie Ellen’s images; an empathetic view from photographer to model, which builds a connection that reflects in the capture.

woman with blond hair posed sitting in front of a blue backdrop. Photo by Sophie Ellen

A master of analogue and digital processes, Sophie employs both in single shoots, producing stunningly different results from the same studio conditions and model. Whether using medium format film or polaroid’s instant chemistry, the unpredictability and idiosyncrasies of their processing lends a softness to subject and image, imbuing the two with an ethereal quality. Though there are hints of nostalgia from the visual language of film, the contemporary styling and fashion situate her images within our time–the use of film is not an affectation for concept to appear retro, instead it’s part of Sophie’s distinct style and approach. 

side by side analogue photos of a woman with blond hair posing in underwear. Photo by Sophie Ellen
Film images that carry with them a different atmosphere
side by side photographs of a model with blond hair, one image with purple along the corner. Photo by Sophie Ellen
Digital images from the same session
woman lying down by window wearing crocheted top. Photo by Sophie Ellen
Woman with red hari posed with her arms resting on her head. Photo by Sophie Ellen
woman with red hair wearing a corset in a white room. Photo by Sophie Ellen
three different perspectives of a model with two-tone hair styled covering her face. Photo by Sophie Ellen

In her commercial photography, Sophie conveys a sensitivity that carries through to, and from, her fine art projects. It explores the body and our relationships to our physical forms; differences, perceived flaws, comforts and discomforts. Examining these tensions within the same filmic process that gently erodes detail and transforms them into painterly figures without the unrealistic idealization of retouching.

When digital photographs from the same series are paired, it serves to reinforce Sophie’s messaging; beauty is found in flaw. In imperfection, we access one another on an emotional and human level. 

image showing a grid of 18 photographs featuring artistic portrait. Photos by Sophie Ellen
close up image of the side of a woman's face. Photo by Sophie Ellen
digital and analogue images of a model in a mauve swimsuit. Photo by Sophie Ellen
Self portrait during pregnancy by Sophie Ellen

Her work walks the line that unites strength and vulnerability, and serves to reconcile fine art and commercial image-making. 

Not only a working talent in the industry, Sophie Ellen also lectures at the post-secondary level on the topic of photography and fashion communication, sharing her extensive knowledge of the medium and processes with emerging photographers.

Explore more of Sophie Ellen’s work on her Format portfolio site and follow her on Instagram.  

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Contributor

  • black and white headshot of woman with wavy medium-dark hair - Julia Martin

    Julia Martin is an interdisciplinary artist and writer from Toronto and is now based in Ottawa and Montreal. Julia trusts that you know that she wrote this bio about herself and hopes you understand that detailing her own accomplishments and credentials in the third person is deeply uncomfortable but professionally expected. Julia has a BFA from Metro University in Photography, and a MFA in Visual Arts. She has exhibited in Canada and China, as well as France and Finland, where she completed artist residencies. Julia has taught at the University of Ottawa, served on art juries, and worked as a freelance photographer for fifteen years, specializing in documentation. Her own work is best described as sad stories punctuated by jokes, or vice versa.

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