Violeta Sofia: Forming Connections and Promoting Change Through Photography
In this episode of the SheClicks Women in Photography Podcast, Angela Nicholson, founder of SheClicks, sits down with Violeta Sofia, a talented portrait photographer and artist whose work has been featured in prominent publications like Vogue, Elle, and The Telegraph. Violeta’s photography delves into deep themes of identity, race, and representation, making her a key voice in visual storytelling. In this episode, Violeta shares her journey into the world of photography, which began with childhood outings with her father and evolved into a passion for portraiture. Her father's influence and her early experiences in Spain played pivotal roles in shaping her path.
Listen to another episode of the SheClicks Women in Photography Podcast
Violeta’s love for portrait photography stems from her desire to connect with people and observe them closely. Despite early doubts and societal pressures, particularly in her early years in Spain, Violeta pursued her artistic ambitions after moving to London at 16. Overcoming her fears, she chose photography as her medium of expression and hasn't looked back since. Her breakthrough moment came when her work was exhibited at the prestigious Royal Academy of Art, which propelled her career forward and opened doors to collaborations with agencies and magazines.
Throughout the conversation, Violeta discusses the importance of networking and forming meaningful connections. She highlights how building relationships rather than just chasing job opportunities has led to larger projects and lasting professional partnerships. A key moment in her career came from an encounter at the Cannes Film Festival, which resulted in a long-term collaboration with Deadline Magazine.
Violeta’s work is not just about creating beautiful images; it’s about using her photography to advocate for social change. She is passionate about projects that challenge perceptions and raise awareness, particularly around issues like representation and domestic violence. Her collaboration with Sister Space, a project aimed at changing the law around domestic violence for women of colour, is a powerful example of how her work blends artistry with activism.
As one of the winners of the 70:15:40 Project, an initiative from MPB designed to support female photographers and address gender disparity in visual storytelling, Violeta continues to push boundaries with her current project, which explores her ancestry and African heritage. Her photography, inspired by Old Masters, takes on a deeply personal and cultural dimension as she reflects on identity and family traditions.
This episode offers listeners an inspiring look into Violeta’s artistic process, her approach to blending commercial work with personal projects, and her determination to use her platform to drive positive change.
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This podcast is supported by MPB, the world's largest platform for used photography and videography kit. MPB has transformed the way people buy, sell and trade equipment, making photography more accessible, affordable and sustainable. MPB is proud to partner with SheClicks to help support women photographers and their work.
Episode Transcript
Violeta Sofia
Yes, it's great to network and say, 'This is my name, this is my CV, this is what I do.' And then you might get one job out of it. But if you build a connection with someone, it turns into something else, and from that photo shoot, it could turn into even bigger projects.
Angela Nicholson
Welcome to the SheClicks Women in Photography Podcast. I'm Angela Nicholson, and I'm the founder of SheClicks, which is a community for female photographers. In these podcasts, I talk with women in the photographic industry to hear about their experiences, what drives them, and how they got to where they are now. Our guest today is Violeta Sofia, a portrait photographer and artist whose work is featured in publications like Vogue, Elle, Deadline, Hollywood and the Telegraph. Beyond her commercial success, Violeta explores themes of identity and race. Violeta is also one of the four winners of the 70:15:40 project, which aims to address the underrepresentation of women in visual storytelling. Hi, Violeta, thank you so much for joining me today on the SheClicks Women in Photography Podcast.
Violeta Sofia
Hi, nice to meet you. Thank you for having me. Angela,
Angela Nicholson
Oh, you're very welcome. Now, can we start right at the beginning by hearing about what first got you hooked on photography.
Violeta Sofia
So I think one of the reasons why I chose photography is because I thought it was a faster medium for me to express what I wanted to say. So I'm one of these kind of persons that is always having ideas, and I've done painting. I started painting, but in college, I realized that photography just allows me to put more out there. But before that, my dad, the person that got me into photography, I haven't said him, because I thought I was just doing it, because it was with him, but he was the one that bought me my cameras, and we used to go out and take pictures. But I don't think I mean, in my head, it feels like it wasn't a conscious decision. I was just copying my dad.
Angela Nicholson
Right. So that really came at college, yeah,
Violeta Sofia
But he was the one that initiated me into taking pictures.
Angela Nicholson
It often seems to be the dads that trigger women in to photography. There's been a few cases where it's been mums or even grandmothers, but more often than not, dads, and we probably know lots of reasons for that, but why portrait photography for you?
Violeta Sofia
Um, why portrait photography? I just like the connection with the people. I mean, when I was growing up, it was landscapes, it was easy, it's accessible. You can always take pictures. Then when I was going, when I was in college, it was still landscapes. Then I started doing projects with people. And I just feel I like people in general. I like talking to people, and I just feel like having a camera and being able to observe people deeper is something that came quite natural to me. And I also like, I mean, I kind of like that kind of power that you get when you can hide behind the camera and observe, really observe people. I mean, in some in some countries, you're not even allowed to look at people. You're not even to observe and fatty people. But once you hold the camera, you're allowed to do on so it feels a good way. It's a good excuse for me to talk to people and get really close to people and just analyze how a person moves, our person talks, how a person pauses, and capture that moment.
Angela Nicholson
Yeah. And what did you actually study at college?
Violeta Sofia
Okay, so what did I do? So when, when I came, so I came to London when I was 16, from Spain. So when I was doing my GCCs, I was doing photography, I was doing art, so painting a lot and textiles. And when I went to university, I studied media, and then I went back into the photography. I was really scared of doing photography at first. It took me a very long time for me to decide that, yes, this is what I want, even though it was always what I loved, was I was just too scared to do it. Yeah.
Angela Nicholson
What were you scared about?
Violeta Sofia
So I grew up in Spain. I came here when I was 16, so doing any art subject was just a no go like you were. I mean, I've been bullied, criticized by students, teachers because I was just good at art. I was good at art and I was good at sports, right? And I was always put down by the fact that you do art so you're not gonna amount to anything. And I came into this country brainwashed into if I do art, it's not. Gonna take me anywhere. But when I moved into this country, all my teachers were like, oh, no, you should do art. You should do art. And I was like, What are you talking about? This is crazy. It doesn't make any sense, all my life not to do it. And you're really welcoming the fact that I'm enjoying it, that I'm good at it, and I mean, I could so compared. So I came and I felt so much freedom coming into the education in this country, because I could pick whatever subjects I want. I could do as much art as I wanted, which was criticized before. So my sketchbooks were super thick. My work, I mean, I wouldn't stop. I'm watching TV. I'm painting, I'm drawing, I'm taking pictures. So eventually, choosing photography was a hard one, because even though I had all that support when I came into this country, it did take me some time until I identify where I really wanted to do and just jump go for it. And I've never looked back since.
Angela Nicholson
And when you say you chose photography that was as your career, you're gonna, you're gonna make a go of it as a professional photographer?
Violeta Sofia
Yes, I mean, I chose so I think I don't know, it must have been in 2017 where, I mean, even previous to that, I've always taken pictures. But I think it was in 2017 where I tried everything and nothing was really satisfying me. I was okay, I'm going to be an artist, I'm going to be a photographer, and I'm just going to jump, I'm going to go for it. I'm going to put everything I have and slowly leave all my other part time work. And that's what I did. So in 2017 I think, I got accepted into for an exhibition into the Royal Academy of Arts. And that was the exhibition that set me off to, you're going to be an artist, and I chose to carry on with the portraiture. I mean, immediately from that time, my door started open to an agency, magazines, art in amazing places. So it was that conscious decision of or me. I mean, maybe it wasn't a decision. Maybe nothing else was working. And I was like, okay, when I'm putting all this effort and things that I don't really like, and I'm getting the same results as I would, as if I go and pursue what I like. So that's how I think I decided to do what I do.
Angela Nicholson
Yeah. How do you find your first commercial clients?
Violeta Sofia
So I've, like, I said, I mean, I've always, I've always done photography, kind of like on the side. So I always had, like, little clients. So I think my first celebrity portrait was maybe about 20 years ago. So I had little opportunities that came and I was doing while I was doing other work. But in 2017 and 2018 when I decided that, I mean, I guess I started networking more, and I found myself in one of my biggest clients that I think that has changed, that has changed my career, I should say, is I went to Cannes. So I always wanted to do celebrity portrait. I went into Can I went into a party. I did not know what I was doing in Cannes. My friends took me there. I was like, What am I doing here? I'm a photographer. I'm not in the film industry. And I found myself in a party, took it, talking to the creative director of deadline magazine, and couple hours later, he was offering me a job. I thought he was lying. I was a little bit tipsy, and and I went back to London, and he called me, and he was like, Yeah, I've got this job for you. Do you think you could do it? I was like, yes. I mean, I'm always the type of s, yes, yes, yes, even though I don't know I feel at the time, but I will always say yes. And that's how the collaboration started and ever since. I mean, it's been, what, five, six years, and that job has opened a lot of doors for me.
Angela Nicholson
Amazing. So when you were at that party, in your head,
Violeta Sofia
Yeah?
Angela Nicholson
were you just at a party? Or were you networking? How did you see it?
Violeta Sofia
I guess I was networking. I love always talking to people, and I'm always going around. I mean, I never have when I go to parties and I don't really have that, oh, I need to network, and I'm direct than not. I'm there to have fun, and I also had to collaborate with people that I get along so I'm not gonna go for someone that I don't like, just for them to give me job. Yeah, so this person was just standing in the corner. He wasn't even in calling any attention. But I was just so happy to be in that party, because I couldn't connect with any of the other parties or any of the other events when I went to Cannes, because everything was film related. Everything was about actors and producers and projects, and it's also a different it would just it wasn't my comfort zone,
Angela Nicholson
Yeah.
Violeta Sofia
and then I ended up in this magazine, and I was like, Oh, I understand about magazines. I understand about photography, I understand about creative directors, makeup artist. So it felt more like. My home, and I was and the drinks were free and celebrities, and I had my lipstick and a fabulous dress, and I was just happy to be there. And I was talking to the creative director, and someone else was commenting about me getting a job in deadline magazine, and then he said to me something like, Oh no, if you need a job, you need it needs to come through me. So I'm the creative director. So from that point, we started laughing, and that's how we build a relationship, until now. So it's, I think I keep it because of the relationships that I build with people.
Angela Nicholson
Oh, lovely.
Violeta Sofia
Yeah.
Angela Nicholson
I think it is interesting. I don't know if you've been to a party where you feel like you have been networked. If you know what I mean, somebody comes up to you and they, it's almost they, I've got five minutes to talk to you,
Violeta Sofia
Yeah.
Angela Nicholson
and then I'm going over there to talk to that person. And, oh, someone just much more important than you had just walked through the door. So I'm off.
Violeta Sofia
Yeah.
Angela Nicholson
Okay. And I think they missed the point that it's about forming a connection with someone. So, you know, some people it just won't work, but...
Violeta Sofia
Yeah, yeah. I mean, I do try to, I mean, I'm not always great at networking. I have been to events where I'm like, Oh my God, this really feels like networking, and I'm not having fun, yeah. And yeah, it's very awkward to me. And yeah, so I need to talk to people. And then first assess, how are we communicating? I might be talking to you about things that are completely random, things that are very personal, and then I see how you react. And then from there, we build something because, yes, it's great to network and say, This is my name, this is my CV, this is what I do. And then you might get one job out of it. But if you build a connection with someone, it turns into something else. And from that photo shoot, it could turn into even bigger projects.
Angela Nicholson
Yeah.
Violeta Sofia
When I approach a company or when I try to do something, I don't just come do the job and leave, I always like to leave a mark and change something.
Angela Nicholson
Yeah, and for your photography to be recognised, I guess, for your specific work.
Violeta Sofia
Yeah. I mean, even if it's just for the for the company itself. I mean, I, for example, the example I could give with this is the National Portrait Gallery. So they approached me. They wanted two of my portraits, or they wanted, actually, they wanted just one portrait, and then it turned out being two portraits. But then from those two portraits, I thought we could do this better, why don't we try this? And then that turned into another exhibition, and now I'm working on other projects with that. So if I see something that could be done better, I want to bring the whole of myself, the whole of my experience, and also thinking about people that might look like me that also need those opportunities. So if I could create a door or a change, a positive change, I would always try to do that. So it's very hard for me to come to a place and be like, Okay, give me the job. I'll do it, and then I go home and then work for the next job and go home. I have to if I see something, let's make it better.
Angela Nicholson
So if somebody rings you to offer you a project, or, you know, to talk to wanting to work with you, what are the projects that really make you excited and want to go and work with them?
Violeta Sofia
The projects that really make me excited? Wow, okay, that's a question in general. Anything that is creative, anything that is original, and anything that is going to make people think differently, is the kind of projects that I love, anything that is conceptual as well. So I really like those kind of projects. But I think I'm really attracted by social projects so things that, I mean, there are some projects that, when they approach me with them, they make me cry, and I really want to, so I did a project with Sister space, for example, where it's about violence, domestic violence, and the whole process was quite emotional. And also you hoping that, because it was about changing the law around domestic violence for women of color, right? And so projects like that that really touch my heart, because I feel like I'm mixing the creativity, I'm mixing the portraiture that I love, but at the same time, I'm trying to send a message and influence people into looking in in a different way, at something that we see all the time, but it's not changing.
Angela Nicholson
Yeah. So it's important to you that you really feel that cause or that that message they're trying to convey, so that you can really kind of get all the feeling in, into your image.
Violeta Sofia
Yeah, no, I do. I I do. I mean, I can't do it all the time, and probably I don't want to do it all the time, because it could be quite heavy as well. Yeah, but to me, it's important that I could also use my photography to and it doesn't have to be complicated. It's just a simple message, simple picture. It's nice to be attached to a project that could change something and that could help a group of people, a small group, a big group, yeah. So that's what I would like.
Angela Nicholson
What about personal projects? Are they important to you as well?
Violeta Sofia
Yeah. So those, I mean, those are the personal projects. And normally I do attach my personal project is always about race, it's always about women, it's always about representation. So these kind of projects that I'm talking about that really connect with me most of the time end up being about race or Representation of Black females and women of color, and I try to do them. If I could do them once a year, if I could do one project a year, that would be that will be ideal. Sometimes it doesn't happen. But I mean, more and more, I'm trying to include what I do also into my commercial.
Angela Nicholson
When you say, do one project a year, how long do you sort of envisage that lasting? You know, is that, is that a 12 month project? Or is that, you know, two weekends?
Violeta Sofia
The whole year? It used to be, I'll do it two weeks, one month. But now, for example, this year, I'm working on a project that is literally taking me the whole year. I'm doing it in a way that I could also so I mean, my commercial stuff takes priority. But this is also because I also feel that the way I get noticed is by doing my personal projects, by writing things for myself, if that makes sense. And I've also changed the way I work where before, maybe if I'm doing a personal project, it will come out of my pocket. Yeah, but now I'm working with other brands and funding, because I got to a point I'm trying to change something. I'm not doing this product for me. I'm doing it for the world. So I say I so I said to myself, I shouldn't be the one paying for this.
Angela Nicholson
So if you've gone out and pitch to people to get funding so you can work on this project.
Violeta Sofia
Yeah, so I've pitched brands, and normally, also the art funds as well. And then if there is a collaboration, there could also be a collaboration of where I know that I'm going to exhibit. I mean, this is a project that I'm still working on it. So I can really disclose where is I know project going into right? But then, if I have, like, an institution that is interested, but maybe they can't really afford the project, so we find the third party that will be able to fund all of that, which is now a brand, because the project, I think is unfair for me, just to pay for something that is not really for me. Instead, it's going to impact a bigger group of people. Yeah, yeah.
Angela Nicholson
So in a way, you're looking for a commercial, well, no, you're looking for an income stream for a personal project because of its bigger story. Yeah. Is that how you balance your commercial and personal projects by doing that?
Violeta Sofia
Yeah, yeah. If not, I wouldn't be able to do it. I wouldn't be, if I don't find the the funding, I wouldn't be able to do it. And if I do it, it would be, it wouldn't have the same impact. I will have to do it for like two weeks, one month, then otherwise, I just get tired. I need help as well. I need to pay people that are helping me. Yeah? So that is Yeah. I mean, another way of doing as well these kind of things is entering a competition like the MPV or many petitions that are actually looking for projects that they can fund?
Angela Nicholson
Yeah, I was going to come on to that, but when you've got a project that's like burning into you because you know you're so excited about it, it's really important, and you're writing to people requesting funding and doing this, and then you get a phone call, whatever a Lister is in town, and we need you to pop out and take a photograph. Do you find it hard to sort of switch off and sort of say, just go and do that thing, which, because that is, you know, go connect with the person, get the money, go back to what you do? Do you find it really hard to switch?
Violeta Sofia
Ah, no, no, no, no, I don't find it hard to switch. And I think it's nice to switch sometimes, if not, it just, it becomes too much. So I think having the the commercial, having different ways of of bringing income, I think is, I think it's good and healthy, okay, if I was just doing commercial, commercial, commercial, I wouldn't be happy if I was just doing personal projects, mentally, that could be quite heavy as well. Yeah, could be exhausting. So yeah and yeah. And I think having commercial as well, commercial work is also an easy way to detach and just come and do the work and leave without having to plan for everything, without having to be emotionally attached. The project, and just have fun, do the work, create the best work possible, and just hand it out. So that also feels very good, yeah.
Angela Nicholson
So what inspired you to apply for the 70:15:40, project?
Violeta Sofia
Um, so it was, I think to me, it coincided with the project that I was doing at the time, and the title was change. And at the time, I was coming from from an exhibition with the National Portrait Gallery, where they were doing, they were creating something towards change, whether we're doing an exhibition about female photographers and female sitters. So if I take it back a little bit, so when I went into the National Portrait Gallery, was the reopening of the National Portrait Gallery. It was an exhibition about female sitters, female photographers. I was the only photographer. I asked them, they have any other black female photographers? And they will, I know you're the only one. And I was, okay, well, I would like to contribute, assist into how we could turn this around. And I proposed to them, I mean, they were quite open. I normally do actors, and Flavia, who was the curator at the time, was our who will also be interested in seeing normal women or women that are achieving in other areas, apart from being a celebrity. And I'll get interesting. So I started researching. I always wanted to include in my portfolio women that are not actresses as well. And I just created this list. So I gave them about 25 names, and six of them are now sitting in another exhibition. And it's the project that I want to extend. It's the project that I want to do more of. And then this NPV came in, and I was, oh, okay, so this is going to give me the freedom to carry on with this kind of exhibition and just take pictures of whoever I want to photograph, because I know the National Public Library has been great, but they also have limitations to who do they have to exhibit, and then you have to ask and ask and Ask, and then there is a huge layer of limitations. Or where you can achieve whatever you want to achieve. So when the NPV came in, oh, great, I could do whatever I want. I could photograph whoever I want. So the word change and female in photography, and it's also female competition, I thought this goes really well together. So that was the initial project.
Angela Nicholson
Okay, so I probably should point out to people who don't know about it. MPB, conceived the idea of the 70:15:40 Project to support female photographers and videographers. You're one of the four winners. What can you tell us about your project that you're working on as part of that initiative?
Violeta Sofia
Yes. So my project has changed, huh? Now the project has changed. I'm still doing the females, and I'm still doing it by separately, but my produce has changed to my handmasters, right? So I do take pictures of my hands. So normally I do handmasters, which are inspired by all masters. So originally, I started taking pictures of my hands because I wanted to see the development and connect with the change of my body and how it's affecting me. But now I want to take it a little bit further and look into my background and my ancestry and African practices coming from my mom and my dad side.
Angela Nicholson
Okay, so your project is continually evolving, then it is changing all the time by the sound things,
Violeta Sofia
Yes, literally, yeah. I mean, yes. I mean, it's really hard. It's a little bit hard to talk about it, because I'm still working on it, and find it a little bit intimidating, because I'm talking about yes, I'm gonna talk about my ancestors, and I'm gonna talk about practices, and I'm gonna be looking into mystic aspects of where I come from, and talking about these things and doing them might be completely different. So I still not sure what I'm doing, but I think that also create the magic of surprise, and I mean surprise for everyone, surprise for myself, surprise for for the people that are gonna look at it, because I do want to change it a little bit. I think right now I'm concentrating on the beauty, but I want it. I want them to be a little bit more raw and a little bit more authentic in a way, that is my story.
Angela Nicholson
Okay, so I was going to ask you what we can expect to see from you at the exhibition, which is in November. But it sounds like you don't know yet exactly, but at what point you're going to draw a line and say, right, I'm going to shoot it.
Violeta Sofia
So what you can expect is it's going to be my all my handmasters. So I photograph so normally when I do the handmasters, I photograph flowers holding my hold by my hands, and then I'm wearing the beautiful clothing. So I want to pay more attention to the objects that around me. The fruits are around me, the. Flowers that I'm holding. So I'm looking into African flowers pride. I'm looking into how I will arrange it differently, the ornaments that I will be wearing, and also including the practices that have been done to me as as a child, or the practice that I've seen my parents doing, and that's what I'm trying to put together. At the moment, I'm experimenting, and it's a lot of fun, because normally I'm quite organized and I know exactly what I'm gonna do, but lately, I've been throwing things on the table and been a little bit more messy, and I've been also surprising my
Angela Nicholson
Okay.
Violeta Sofia
so that is interesting not to know as much as it's scary, but it's also interesting not to know what I'm doing and see another side. I mean, I'm also taking this exhibition as an experimentation of a project that I wanted to be that will be much bigger. So I'm really excited.
Angela Nicholson
Your mind is constantly leapfrogging, isn't it, from one project to the next one. Evolve this, do that,
Violeta Sofia
Yeah.
Angela Nicholson
then you've got some big thing.
Violeta Sofia
Yeah.
Angela Nicholson
Fantastic. That's great. What advice would you give to other female photographers, or other black female photographers who are contemplating applying for a bursary, or perhaps a scheme like the 70:15:40 Project?
Violeta Sofia
Oh, my advice is just to go for it, to apply. It doesn't matter if you have time, because sometimes you look at opportunities and if they come. I mean, I think if you catch them really early, you're like, Oh, you have all this space to be like, oh, yeah, I really want to apply, but then you become all, but men, gonna apply. Are Are my are my pictures good enough so you have too much time to start doubting yourself, and then you're like, Okay, I'll do it next year.
Angela Nicholson
Yeah.
Violeta Sofia
And, and also, when you come really late, these are all, I don't have time, and blah, blah, so I just feel like, send whatever, send it whenever, and just it might in my surprise. I mean, my MPB application, I did it really. It was, I just found out about it, and also let me, let me apply, because it just sounded so interesting, but it's just a blind not be fearful, and I know that there are not enough women applying for competitions unless it's specifically for women, and especially women of color and then especially black women, they're not applying to competition. So I just been asked to be judge of one another competition, and they wanted me to come in, especially because they needed more black female artists to submit, so I've been trying to invite as many people as possible.
Angela Nicholson
Yeah, you need the visibility, don't you?
Violeta Sofia
Yeah, they need, they need, I think they need to be more included. I think also competitions. What they should do is, I mean, it's really, I've seen it myself, so I have applied to think if I don't see a black Judge, I felt like she's not going to understand my story. She's not going to understand what I'm trying to say. So I think it goes both ways. Yes, women in general should be feel more confident, then Black women in general should feel more confident. But then it's also from the other side. What do we see if I only see men, if I only see all the men, it's harder for me to let me submit my picture that talks about hair, and I don't know pregnancy or something else, yeah. So I think it's very, very important to what we see as people that are submitting into this projects.
Angela Nicholson
Yeah, I think more competitions and projects are recognizing that they need to make their juries more inclusive, because that is, that is what attracts a lot of people you know, to apply if they feel they can connect. So, yeah, great stuff.
Violeta Sofia
I mean, it's quite complicated, but you need to have variety of judges of so if I'm submitting a portrait, I want to see, maybe someone that is interested in portraits. If all the artists do landscape, they're not gonna add my they're not gonna like my work. And yes, I mean, it's something that we're learning is something I don't know if it's hard or difficult, but if we communicate, if we talk, we find a way of doing and achieving all these things. If not, people are not going to apply.
Angela Nicholson
Yeah, so get involved.
Violeta Sofia
Yeah.
Angela Nicholson
I think that's a really good point to go to Six from SheClicks. I've got 10 questions from SheClickers, and I would like you to answer six questions, please, by picking numbers from one to 10. So if I could have your first number, please?
Unknown Speaker
Number 10.
Angela Nicholson
Number 10. Now this is a great question, actually. What do you feel is the most successful way to challenge stereotypes? That question is from Liz.
Violeta Sofia
Oh, my God. What is the most successful way to challenge stereotypes? I think, to me, it's just to not avoid them and just go for this stereotype and put it in people's faces. I think that makes people think about the obvious. If that makes sense, I think to me, personally, if I try to avoid that stereotype and try and do something else, I think I will put it into people's faces. It's like, Do you really think this is how I am, or how basic it is? I don't know if that makes sense, but I would just go with it. Yeah.
Angela Nicholson
Yeah, yeah. Is that something you consciously do in your projects? I think
Violeta Sofia
it's something that I consciously do in everything that I do, like, even when I'm talking and people say some stereotypical they have some stereotypical idea about something. I'll be like, Oh, really, is that how you because I'm a woman, I should behave that woman because color I should yeah. So I'm just quite, I think in general, I'm quite direct with these sorts of things.
Angela Nicholson
Okay, can I have your second number then, please?
Violeta Sofia
Number one.
Angela Nicholson
Okay, what or who do you feel are the main barriers to women, trans or non binary photographers from getting those properly paid photographic jobs? That question is from Shelley.
Violeta Sofia
Things are changing, but we're very used to seeing photographers as male and older male, which I think is also something that is changing, but I always try to look at what I could change, so I can't really change the perception of other people. So I try myself to because I've also seen a lot of people that or a lot of women that blame it on the outside, but then you ask them, I mean, this is quite basic. I'm I'm sure the person that has asked this question has a portfolio and a website, but I've seen a lot of people that complain. But then you ask them, Do you have a portfolio? They say, No. Are you applying to these opportunities? And they say, No, are you No, no, no. So I think if you're good with your portfolio and what you're doing and you're working on yourself, then the next thing is work on your confidence, and then still approach these things, because I have no control into going into an interview and they're going to judge me by the way I look. If they want to do that, I can't do anything about that, but I could do about the work that I present, how I present myself. And then try not to use even though it's a reality, but I try not to use those as excuses as well.
Angela Nicholson
Yeah, got you. I mean, yes, those are barriers, yeah, but you can only control what you can control. So your barriers that you can deal with are your confidence and actually putting yourself out there and putting the effort in.
Violeta Sofia
Yeah, well, you need to put yourself because I've seen a lot of a lot, a lot of women complaining, and the majority, I mean, I've seen men as well, but the majority were women. And then, like, no racism or no, because I'm a woman and not but then where's your work? Have you submitted? Why don't you enter your work? And they're like, no, no, no. I'm like, well, we can't really, you can't really complain then. And this is things that we do. I them as well. So this is things that we do all the time, and I try to always fix me. And then if the everything else wants to go with me, it's fine. If not, I can't, I can't do anything.
Angela Nicholson
Okay, could I have your third number, please? Number three. What is your process for a hand masters shoot.
Violeta Sofia
So my process is, depends on how much money I have. So I have a table. Everything that I take on the handmasters is me. There is no AI. There might be some photo shoot, some Photoshop in terms of because I'm hiding behind my arms, so my head might pop out on the side, so I might get rid of that, but everything else is on the picture. So I have my camera tethered to my laptop, tethered to an iPad, tethered to an iPhone, so the iPhone sections will be here. So this is when I'm just doing it on my own, right? IPhone will be here, and I will be pressing with whatever I have or I can?
Angela Nicholson
Right. If you got very long tongue or something?
Violeta Sofia
a tongue, my nose, anything. So I would just be pressing and but doing it that way, sometimes it could be a little bit difficult, of course, because I have to be aware of the shirts. I have to be aware of my hand, and then I have to use my hands to press, even though, if it's on a timer and I find the beautiful pose, I have to go back. By the time my hand is back, it's a completely different pose, but with multiple shots, you can achieve it. The other option is, if my husband is in the room watching TV, I give him the iPad, and then he just press, press, press, press, and I'm just there, yeah, into hand. So I need to have the TV on. If not, he would just give up really quickly. And then the other option is, if I have a team, and, like, I think the biggest number of people that I've done it with is, like, four people. So I just, for example, I just finished a collaboration with a flower shop, so they were doing all the flowers, which was great. And then someone was pressing, someone looking at the shirt some so I didn't have to do anything. Just look at the screen. I'm like, Yeah, it's fine. Let's do it so it depends, but all of all of them are quite fun and interesting, and when I do it with my tongue. It's...
Angela Nicholson
Have you tried a remote release that you can press with your toe or something?
Violeta Sofia
Yes, that's true. That's true. Yes, yes, that's true.
Angela Nicholson
Probably not as much fun, though.
Violeta Sofia
I just feel like it will be an extra thing to worry about.
Angela Nicholson
Yeah, you'd probably stand on it quite quickly.
Violeta Sofia
Yeah.
Angela Nicholson
Okay. Can I have your fourth number please?
Violeta Sofia
Number four.
Angela Nicholson
Number four. If there was something that you could share with your younger self as you started out in your photographic or art journey, what would it be? That question is from Liz.
Violeta Sofia
If I have to start, probably I would say to myself, pick another career. You know, completely different.
Angela Nicholson
No, you can't do that.
Violeta Sofia
And then if you can't do that, I'll be like, yep, um, I would have, I would have started earlier. I would have said, go for it, believe in it. And because I think I started the time, I started believing in myself and kind of giving up everything. I think I was 27 so from that process of knowing if you do arts or that brainwash, or if you do not gonna achieve anything, if that would have been removed from my life, and I would have been able to start to start that kind of mentality earlier, yeah, that would been so much better be, and I'm quite glad, because now so I've gone from being the only black female photographer in the room, or the only woman in a room when I was starting in photography, when now I see a lot of young women coming into rooms and being educated. I mean, still, it's still not right quite there, because it's also something that sets me that you go into colleges, you see a lot of women study photography. You go into exhibitions, you see a lot of women. You're going into talks, you see a lot of young girls. But then when you see the women working, then those numbers are not equal, yeah, but at least I'm starting to see more of them.
Angela Nicholson
Yeah, yeah. Progress is being made, but it's not as fast as we would like it. Yeah. Okay. Could I have your fifth number please?
Violeta Sofia
Number five.
Angela Nicholson
What moment of your career are you most proud of to date? That question is from Anne and Janina.
Violeta Sofia
I'm most proud of, I think, having my picture at the National Portrait Gallery. I'm very it was, it happened during the lockdown, all my jobs were being canceled. I was, Oh, my God, my career has been canceled. I don't know what I'm going to do. Are you sitting on a sofa just watching the news, watching the numbers, eating, and then all of a sudden, I got an email from from that, because I took pictures of of actresses that, because it was really hard to get people together photograph them. So I was one of the lucky people to have photograph promising young women, and the film did so well, and it was such a feminist film, and everyone started contacting me so well. Contacted me. Oh, magazine contacted me. Hello. Magazine contacted me. I was like, Oh, my God, what's happening? And then the National Portrait Gallery contacted me. I was crying in my house, and it's a place as a portrait photographer, that was the ultimate dream for me.
Angela Nicholson
Fantastic.
Violeta Sofia
And they took my picture, and they were super welcoming. And what I really appreciated about them is even though they were really much aware of how the world is changing and representation and discrimination and racism, there were really they were accommodating. They wanted to include me in the story without trying to change me, because of it's fashionable. So they were really open to hear what I wanted to say. And then from one picture, I pushed to have two pictures, I thought, oh, I want two pictures gallery. And I was like, these people that have more than one picture, and then they said, okay, they like the picture. And then I was like, Okay, now on a project. So I'm, I'm proud of them asking for that picture that happened at the time. But I'm also, what I'm most proud of is going in you. Uh, not demanding, but of wanting more. So I'm proud of me wanting more to do with what makes me happy. Yes. And then from there was, there was another. So right now there's an exhibition at the National Portrait Gallery in rule 31 that was instigated by me saying I'm the only black female photographer. You need more photographers. You need more cities, and now that room is shows representation. So I think that process I had with the National Portrait Gallery, where now they have four pictures, is my most proudest moment for using my voice to create change.
Angela Nicholson
Yeah, I think you're right to be proud of those those achievements. That's fantastic. So your final number then please?
Violeta Sofia
Did they say number six?
Angela Nicholson
Not yet. Okay, do you want number six?
Violeta Sofia
Numbers? Or should I let you pick? Can you pick for me?
Angela Nicholson
Okay, hang on.
Violeta Sofia
Okay, good.
Angela Nicholson
Okay, let's go for this number nine. If you could photograph a portrait of anyone in the world, who would it be? And that's another question from Anne and Janina.
Violeta Sofia
So it would be, I mean, I would love to photograph Naomi Campbell, I just feel that she's, she's changing, she's growing. I mean, I don't know. I just feel like normally, you she is, you see women after 30,35 just like you're dead, but I feel the fact that she keeps going and she's coming back and she's stronger, and she's redefining herself, and she's it feels I'm into the media. It feels like it's a completely different person, and she's seen in a different way. So in terms of photography, it would be her. And also, I was asked this question some time ago as well, when the Queen passed away, and that was someone that I would have loved to photograph as well. Yeah, yeah. There is something Yeah, iconic there.
Angela Nicholson
I was gonna say, two very iconic women. And iconic is a word that's somewhat overused, but they really are.
Violeta Sofia
Yeah, yeah, yeah, yeah. So I see, I think, I mean, I've been asked this question before, and I was like, oh. And then I was at home, I would have loved to photograph the Queen, especially when her portraits were all around Central London. I was like, that would have been a really, a really, a really good picture. Yeah, that would have been fantastic. So now I need to target the Royals now as well.
Angela Nicholson
And Naomi Campbell.
Violeta Sofia
And Naomi Campbell, yeah, now Naomi Campbell will be amazing to photograph her, yeah.
Angela Nicholson
Where would you photograph her?
Violeta Sofia
Anywhere!
Angela Nicholson
Okay.
Violeta Sofia
It doesn't matter. I will photograph anywhere someone that I admire so much. I just feel like things that have had the way she's been portrayed, it wasn't great. And then I just feel like she's grown so much, and now she's come back as this completely new person, but still the same. And also, I really, I would have loved to photograph her with her kid. She became a mom when she was 50. I know she doesn't. So I would like to do something where you don't really see the face of the kids, because she doesn't like to show the face the kids, but I would like to photograph it as a full person, which is, I'm still a model, I'm still strong. I stood by what I believe, and now I've got kids, so I would have loved to include all of that in a portrait. And she's got an amazing face, amazing cheekbones and yeah, I like her.
Angela Nicholson
Yeah. Oh, well, fingers crossed. Maybe it will happen.
Violeta Sofia
Yeah. Fingers crossed.
Angela Nicholson
Well, Violeta, thank you so much for joining me today. It's been really lovely chatting with you.
Violeta Sofia
Thank you. Thank you so much. Thank you for having me.
Angela Nicholson
You're very welcome. Thank you. Thanks for listening to this episode of the SheClicks Women in Photography Podcast. I hope you enjoyed it. Special thanks to everyone who sent in a question. You'll find links to Violeta's website and social media channels in the show notes. I'll be back with another episode soon, so please subscribe to the show on your favorite podcast platform and tell all your friends and followers about it. You'll also find SheClicks on Facebook, Twitter, Instagram and YouTube, if you search for sheclicks net. So until next time, enjoy your photography.
