The first time I picked up an SLR camera, I was 14 years old. I was handed a Nikon F, an analog camera from 1959. It became my doorway to a universe of creativity, one I would ultimately fall in love with like nothing else before. I spent all my free time in the school’s darkroom. My hands perpetually smelled of developer, and my blazer pockets were always stuffed with rolls of film. I photographed faces: my friends, my family, strangers on the street. Photography became my oxygen, and I
and I couldn’t imagine a world without it. I immersed myself in the works of famous fashion photographers like Melvin Sokolsky, Richard Avedon, Annie Leibovitz, and Mario Testino. Life suddenly felt rich and beautiful, delicate and theatrical.
I didn’t want to do anything but take photos. In my high school diary, I scribbled a 10-year plan: to study photography at university and eventually make it to New York City, where I dreamed of working for the likes of Vogue. Ambitious, yes, but that’s always been my nature.
The wonderful thing was, I managed to secure a place in what was then regarded as the country’s best photography course. The not-so-wonderful thing? I would be part of the final cohort to use the university’s darkroom facilities before they were shut down and converted into digital labs. Instead of spending hours crafting images in the glow of red light, I found myself seated in front of a computer, learning to retouch digital photographs. A prerequisite for starting the course was purchasing a digital SLR, no more rolls of film.
That was over 20 years ago. The evolution of photography has stretched far beyond anything my 14-year-old self could have imagined. Kodak and Fujifilm are no longer household names. Everyone has a camera in their hands, even the 8-year-old waiting for the bus with his mother. Retouching photos is now a matter of a single click via an app. And the word ‘selfie’ has overtaken ‘portrait’ in everyday conversation.
Recently, as I scrolled through my LinkedIn feed, skimming posts in search of something captivating, I stumbled upon a series of photographs that stopped me in my tracks. They were beautifully lit, with a cool, wintry atmosphere. The images depicted a woman surrounded by snow and deer, wrapped in a cloak of tufted wool modelling sunglasses. They looked as though they had been shot in Siberia.
Intrigued, I read the accompanying text and discovered that these striking images weren’t real. The woman, the snow, the deer, all of it was artificially generated. But how? They looked so real. I clicked into the photographer’s profile and found myself diving into the world created by Sevda Albers, whose job title read: Fashion Photographer and AI Art Director.
The intersection of art and technology had once again redefined what was possible in photography. My 14-year-old self wouldn’t have believed it. Yet here I was, marveling at the future, one that continues to blur the lines between imagination and reality.
Albers represents a new wave of photographers. With a client list that includes Marie Claire, H&M, Adidas, Asos, Harvey Nichols, Grazia and Vogue, she combines her expertise in photography and art direction to craft AI-generated imagery that blurs the line between reality and illusion. When we sat down to chat, I couldn’t wait to delve into how her creative process had evolved over the years.
“My creative process remains fundamentally the same, whether I’m working with traditional photography or AI: the idea always comes first,” Sevda explained. “Regardless of the medium – be it photography, graphics or AI-generated imagery – my focus is on bringing a concept to life.” Her approach ensures that the medium serves the vision, not the other way around.
One of the most striking aspects of Sevda’s work is how she uses AI to expand her creative boundaries.
“AI significantly enhances my artistic vision,” she explained. “It offers me the freedom to explore and create new patterns, objects, and scenes that I might not achieve through traditional methods. Personally, I’m not particularly skilled with hands-on crafting or painting, but with AI, I can generate sculptures or editorial imagery that align with my vision.”
Sevda also highlighted the accessibility AI brings to the creative process.
“AI democratises creativity, making it more accessible for artists to experiment and push boundaries without the usual constraints. In traditional art, producing a piece can require substantial financial investment. AI, on the other hand, allows for experimentation without these barriers.”
Ethical considerations play an important role in Sevda’s process.
“I ensure that I don’t directly use or replicate any original work from another artist. This approach allows my creations to stand apart from the more generic AI-generated visuals. I build everything from scratch – whether it’s a model, building, or outfit.”
She acknowledges the challenges that come with AI’s reliance on existing data.
“AI systems are trained on existing images, which raises valid ethical concerns. To address this, I consciously strive to create as ethically as possible, ensuring originality and respecting intellectual property. My goal is to use AI as a tool to expand my creative vision, while maintaining integrity and authenticity in my work.”
When brands approach Sevda, their goals are often centred on innovation rather than cost-cutting.
“When brands approach me, it’s often less about budget constraints and more about pushing creative boundaries and exploring new possibilities. I enjoy working on projects that embrace out-of-the-box thinking, where AI becomes a tool for innovation rather than just cost efficiency.”
She shared a particularly memorable project with the Swedish brand EOE, which produced the images that had initially caught my eye.
“They approached me as an artist and gave me complete creative freedom,” she said. “The goal was to incorporate elements of Sami culture into the imagery. This was a challenge due to the lack of diversity in AI model training, but I managed to overcome it and deliver something truly unique.”
Looking to the future, Sevda sees AI creativity evolving into more specialised niches.
“The future will be very micro-niche, and the individual style of each creative will be crucial. AI creatives will have to specialise in order to maintain their uniqueness and relevance in the market.”
However, she emphasised the ongoing role of the artist in shaping AI-generated art.
“AI-generated art is only as good as the artist guiding it. AI still needs the input and vision created by the artist – at least at this stage of generative AI.”
Sevda’s insights showcase a thoughtful balance between innovation and artistry, positioning her at the forefront of an exciting and rapidly evolving field. Her work demonstrates that while AI may be a powerful tool, it is the artist’s vision that ultimately breathes life into the creation.
So, I found myself being drawn back into the rapidly changing world of photography, its wild embrace. While I still long for the analog days, I remain endlessly fascinated by the evolution of this extraordinary medium. I mean, how could I not?
Further reading: The Iconic’s chief marketing officer on creating a campaign that turns heads