London-based photographer Saskia Kovandzich is a woman of grace and depth, whose lens captures more than just images; it captures the essence of moments, the raw authenticity of people. It all started with a simple camera, clicking photos at gatherings of friends and family, a sanctuary from her social anxiety.
As a politics and international relations student, her love for photography was persistent, whispering softly amidst the chaos of academics. After graduating, Saskia embarked on an odyssey to Australia, her camera by her side, her heart open to exploration. But the stark solitude of the pandemic revealed her true calling in a profound way. Her 30-day challenge, a daily photoshoot, was not merely a creative endeavor but a lifeline, a harbor amidst the stormy waves of uncertainty.
Kovandzich’s work is a tribute to the feminine mystique, an elegant waltz between fantasy and reality. Her style, uniquely hers, whispers stories of dreams and invites viewers into a world where femininity is not only embraced but celebrated. She sees her work as an elegant rebuttal against outdated stereotypes, a statement that loving “girly” things don’t lack depth or substance. Her lens doesn’t just capture pictures; it frames narratives, shedding light on the complex tapestry of femininity.
In Saskia’s world, diversity isn’t a conscious effort; it’s an organic element of her craft. She believes in the universality of beauty, refusing to confine her lens to conventional models. Her past work at various fashion labels and collaborating with several creatives served as a springboard to this conviction, exposing her to stunning faces, but also stirring a desire to capture the charm of “real” people, those unsung heroes whose beauty often goes unnoticed.
As Saskia gazes into the future, she sees herself continuing the dance with her passion but on a larger canvas. The photographer envisages herself partnering with bigger clients, contributing more to glossy magazine shoots, without compromising the heart of her work—the genuine warmth and love she infuses into every frame. The path ahead seems bright and promising for this relentless dream-weaver, who finds joy in the beauty around her, transforming ordinary moments into extraordinary frames, one click at a time.
1. Damsel
I went over to Australia for two weeks to catch up with friends, since I lived there for a while. But two weeks, honestly, wasn’t enough. Still, I managed to fit in one shoot with a friend, Zoe Hilditch. I had some ideas for this shoot already, but it was too cold in England to shoot outside at night, so a hot summer evening in January in Brisbane was the perfect setting. I had been admiring Zoe’s creative vision on Instagram, her styling was so good and exactly what I had in my head for a shoot.
I messaged her about it, and she was super keen. It’s one of those things where, when someone nails the styling brief, everything falls into place just as you pictured it. That happened with this shoot, and it was also great to experiment with the editing and see how everything ended up looking. We did go forth a bit because I wasn’t sure if some things matched up. I was like, “Does this match up? Is it too different?” But I just kind of liked that it was like that in the end and there’s so much variety in the images.
2. Angels of the North
Alright, let’s chat about “Angels of the North.” This was an editorial for Cake Magazine. At the time, I had been mainly shooting commercially with agency models, and I wanted to get back to doing something more fun and editorial. I was working with Kate & Sarah at the time and asked if they’d be interested in modeling and styling a shoot and sent them quite a brief creative concept.
This shoot had a loose creative direction. There was a clear storyline, starting at home, getting on a train, and going to the beach. It kind of evolved as we went along. It was one of my first times using location lighting, giving that sort of harsh flash when it’s still daylight and making it look almost like it was done in a studio.
3. Day 29
This was the second to last day of my 30 day photography project while I was in lockdown in Brisbane. We were allowed to have one or two people over, we weren’t in strict lockdown but we were trying to be cautious. A friend suggested doing the shoot but staying two meters away the whole time. She had a few ideas she wanted to try and the shot we ended up with is a super close-up, but it was taken from really far away and then cropped. She just had tights on and had the idea of putting flowers in them. The 30 day project was super experimental and just about trying ideas I’ve wanted to for ages but never got round to doing.
4. Tyla for Notion
I really enjoyed this shoot and I’m so happy with how it turned out. It’s simple. I had worked with the producer and I assisted on Notion shoots before, but this was my first time shooting for the magazine. Tyla and her whole team were there alongside the stylist and her two assistants. There were so many people on set and I hadn’t really thought I might need an assistant or extra hands that day, so this ended up being shot with one softbox and a negative fill using a polyboard to create some harsh shadows. I liked that the simple set up, with complimenting colors was able to highlight the incredible work of the stylist, Jadzia Scott.
5. Anoushka G
So, this was a collaborative project with an artist named Anouska Gane. I did a shoot with her for a friend’s graduate collection around four or five years ago before I moved to Australia. I really admired her work on her Instagram, particularly her creation of goblin-like characters. I was excited to work with her again, but it took me a long time to message her to propose a collaboration. Finally, I did and she was up for it.
This was a super creative day, although we had a mood board, it wasn’t rigid. This is something I do more now, trying to be as organized as possible. But it’s nice to do shoots like this, where you just have full creativity. I used to be more fantasy-driven in my work, and this was a nice return to that. I definitely want to explore more of that style, even while I continue with my more commercial work.
6. RAYE
I shot RAYE at The Roundhouse which was exciting because music and events were where I started. Now, I occasionally do corporate events, and sometimes events like this. It was great to shoot someone that prominent, in such a large venue with an impressive set design. I was very happy with how the images turned out, and I’d like to do more.
However, the music industry can be challenging to navigate, especially in terms of payment. Often, they try to get work for free which can work if you’re starting out or not relying on it for income. But where I’m at now, if I’m not paid for my work, I can’t do it; I need to pay bills.
So, I’m not engaging in that as much anymore. While there are fantastic music photographers who’ve made it their career, it wasn’t working for me. I’ve found more success within the fashion industry.
7.Miaou for END Cloting
This image was created when I worked in-house for END Clothing, a luxury fashion retailer. They wanted a banner and I was thrilled to work with this brand because I’m a fan. What made this project great was the womenswear stylist, Lucy Davis, on the team who was amazing. She would put together outfit ideas and show us in advance, allowing us to visualize how everything would look. It was a good working relationship with open communication.
For the banner, she had two outfits, but we needed just one photo. So, I suggested we shoot three different photos and then combine them to include more products. This was shot against a white backdrop, and I experimented with the colors in post-production. I settled on a blue tone that looked quite nice, and everything just fell into place. That’s how this project came together, and it’s one of my favorite images.
