To celebrate International Women’s Day and interesting Sussex women, Dee Blick, commissioning editor, Sussex Exclusive, talks to photographer Sophie Ward about all things photography.
I’m a huge fan of Sophie Ward. She’s a brilliant photographer, evidenced by her illustrious portfolio, curated over many years. I’ve been captured by many photographers and Sophie is the most talented I’ve ever worked with. She ticks every box from relaxing you and helping you to smile naturally, with lighting that just gives you that gorgeous glow, to providing you with an album of pictures and you’re spoilt for choice. Whenever I need a new set of images, it’s Sophie I turn to. So, it was a nice change for me to turn the tables on her and be in the driving seat!
What made you fall in love with photography?
The power of storytelling. I love freezing a moment in time that tells a complete story, without words. From the very beginning, I wasn’t just interested in taking pictures. The people and their stories truly fascinated me. The split-second reaction is what hooked me and has kept me hooked ever since. I’ve always been a people person.
You started out as a Fleet Street photographer…
I was marching up and down Fleet Street at the age of 17. I had a job with a news agency at Southwark Crown Court, so I had to deliver photos to the national picture desks. Working on Fleet Street was the ultimate training ground. You don’t get second chances in press photography. You must have great timing to be in the right place, at the right time. And you must deliver. It taught me discipline, how to anticipate moments before they happen and how to remain unobtrusive while getting the shot. It was a wonderful experience for such a young person. It shaped the documentary approach I still use today in my work.
Was there a defining moment in your career?
Becoming a Mum was a hugely defining moment in my life. I moved from the high-pressure environment of press photography to establishing my own brand. I’ve always found it hard to juggle family life with work commitments because newsrooms aren’t ideal if you have a young family. My work with businesses and my portrait sessions have helped build my reputation in West Sussex and beyond. Projects that document social history, for example, my involvement with the Royal Photographic Society, “The 40% Project” – celebrating Women in Parliament – have helped define my standing as a photographer.
Has your approach to photography evolved over the years?
It has. Although my core storytelling philosophy remains unchanged, my patience and perspective have deepened. Nowadays, I’m on the lookout for the narrative, with an editorial style approach.
When are you happiest behind the lens?
I love it when I’m invisible, camera in hand, capturing the moments people were unaware of until they see the images. I also love directing people, giving them the confidence to be on camera, by showing them how to look when the lens is being pointed at them.
How would you describe your photographic style?
From my background, it’s documentary with a hint of editorial. I combine the candid nature of photojournalism with the composition of portrait photography. I’m not about stiff poses and awkward smiles, but about authenticity. My goal is to create images that are honest and real, yet beautiful enough to hang on the wall, in a website or a book.
What are you looking to convey through your images of people?
Connection and truth, whether it’s a bride. a sole trader or the CEO of a global company. I want the viewer to connect with the personality of the person; for my images to be a visual legacy so that when people look at their photos in 20 years, they remember exactly how they felt at that moment.
Tell me about interesting recent projects
As mentioned earlier, a recent project has been ‘The 40% Project’ which celebrates women MPs that now make up 40% of the UK Parliament. It’s a project that aligns perfectly with my background in documenting history. Locally, I’ve been running workshops helping small businesses in the Horsham District area understand photography and the importance of light. It’s been incredible teaching entrepreneurs how to take control of their own visual storytelling and brand design.
How much of your immense talent is down to your people skills, your equipment, and your experience?
It’s all three but experience is a heavy lifter. You can have the best camera in the world but if you don’t know how to read a room or anticipate a moment, it’s useless. One of my superpowers is remaining calm in chaos. People skills are a close second. Helping people feel relaxed is so important if you’re aiming for a natural shot. The equipment is merely a tool, though I can get a little geeky when it comes to the tech.
What role does editing play in your work?
Editing is the final polish, but it shouldn’t be the main event. I prefer people to look natural. I stay away from heavy airbrushing and altering reality. The beauty lies in the imperfection and the reality of the moment.
How do you see the role of photographers evolving in the digital and AI driven age?
I’ve seen so many changes in my lifetime, but the human eye and human connection cannot be replaced. AI can generate an image, but it cannot witness a moment. Nor can it sense the emotion in a room or react to a spontaneous burst of laughter. The role of the photographer will become more about the human witness, the ability to be there physically and emotionally to capture the truth of real life.
Who would you love to photograph living or dead?
I would love to photograph pioneering women that have changed history. Someone like the Suffragette, Emmeline Pankhurst, would have been incredible to photograph, capturing the intensity and the fight in her eyes. In the living world I am drawn to people with strong stories whether world leaders or local legends like you, Dee.
Describe your dream project
This would be a large scale, long-term documentary series, documenting the diverse lives of British people. I’ve always rooted for the underdog.
Black-and-white or Colour?
I love both but there’s a special place in my heart for black-and-white. It strips away the noise and distraction, forces the viewer to focus entirely on the emotion, the composition and most importantly the light. It has a timeless quality that fits perfectly with my documentary style.
You can find out more about Sophie’s work at https://www.sophiephotos.com/
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