Her journey into shooting didn’t start from ambition but from curiosity. Sofia Stepanian studies international economic relations who found her own language through creativity. Her debut photoshoot became the moment when the camera revealed not only her appearance but also her true self.
Today, Sofia is preparing for her first magazine cover and shares how she balances studies, photoshoots, and the pursuit of harmony in a world where the most valuable thing is to be yourself.
Sofia, what was the moment when you decided: “Yes, I’m ready to try myself in photoshoots”?
I don’t think there was a single day or moment when I told myself “now is the time.” It was more of a gradual immersion — like when the water slowly reaches the shore. The camera was always somewhere nearby: friends, family took pictures of me, sometimes I accidentally appeared in the frame during school or university projects. And each time, it brought a sense of inner harmony — as if I was entering a familiar yet always slightly mysterious space.
At the same time, I was fascinated by photoshoots of global stars, fashion shows, and how through light, gaze, and gesture one can create an entire universe. It mesmerized me. Then came the feeling that if I didn’t try now — it would be too late, and I’d regret it. So when the opportunity for my first professional shoot appeared, I simply told myself: “Yes.”
It wasn’t a decision as much as a natural next step.
The first photoshoot is always a mix of excitement and thrill. What do you remember from that experience?
It was a day I could never forget. I remember the feeling — a mix of fear and inspiration. Everything around was new: bright lights, cameras, people moving quickly, joking, giving directions. I felt like I had stepped into a completely different world — rhythmic, full of energy, yet very warm.
What stood out the most was the atmosphere: there were people who genuinely supported me. Music was playing, someone was laughing, someone was cheering me on — and that human noise slowly melted away the tension. At one point, I simply forgot that I was supposed to “stand correctly” or “look at the camera.” I stopped controlling and started living inside the frame.
When I later saw the final photos, it felt like a true revelation. In those images, I saw myself — not just my appearance, but a state of mind, a mood, an inner movement. It seemed as if the camera had captured something I could never express in words.
You study international economic relations but choose a creative path. How do these two worlds coexist within you?
Surprisingly, quite harmoniously. At first glance, they seem like completely different worlds — numbers and analysis on one side, improvisation and emotion on the other. But in reality, they complement each other. Economics taught me to think systematically, to allocate resources — time, energy, attention. When preparing for a shoot, I always have a clear plan: timing, priorities, sequence of actions. That helps me stay calm even amid creative chaos.
And creativity, in turn, taught me to let go of control. In my studies, I often add visual elements — color, form, emotion. When you prepare a presentation and include something lively instead of dry graphs, it instantly changes the atmosphere. I like being both a strategist and an artist — it gives me a sense of wholeness.
The fashion industry often seems closed off and even harsh. What surprised you when you got inside?
Probably the humanity. What looks cold and unattainable from the outside turned out to be a space of mutual support. I was struck by how collaborative this work is. There’s the photographer, stylist, makeup artist, producer — each contributes something of their own. And when all these elements come together, something alive, powerful, and complete is born.
I especially remember the photographer who worked on one of my first shoots. He didn’t just see a face — he captured the mood, the tiniest movement, even moments of silence. His perspective helped me realize that a photoshoot isn’t about playing a role, but about a shared language between the one in front of the lens and the one behind it.
And then there’s the lightness. I expected strict rules and distance but found warmth and openness instead. Yes, there are deadlines and precision, but alongside them lives trust — and that’s what makes this work real.
What does standing in front of the camera mean to you?
For me, it’s always about honesty. Not about a pose or a flattering angle, but about openness — with yourself and with those who will later look at the photo. It’s like a mirror you look into not with your eyes, but with your soul.
I’m most genuine when I feel calm and free — when there’s no need to “seem” like someone else, only to be. I remember one shoot that had already lasted several hours. I was laughing, moving, talking — and it was exactly then that the photos came out where I recognized myself the most. No tension, no act — just presence, life in every glance. And that’s probably why I love this process so much: it teaches me to accept myself in all my forms.
Your first magazine cover is ahead. What feels most exciting about it for you?
First of all — the inner feeling. Of course, I’m curious how people will react, but the main thing is that I personally feel this step is important.
Before every shoot, I have my own little rituals. A morning stretch — to wake up my body; water with lemon and mint — to tune in; music — to find the right rhythm. Sometimes calm, sometimes more energetic, depending on my mood. And a few minutes of silence — they’re always necessary to gather my thoughts and feel what I want to express in front of the camera that day. Then comes coffee, laughter with the team, small details that create the right atmosphere.
When I hold the magazine in my hands, I want to feel peace and pride — not only for the photos, but for the journey itself: for not being afraid, for taking a step forward, for leaving a small imprint of myself in history.
Who or what inspires you to keep moving forward despite fear and uncertainty?
I’m inspired by people who stay true to themselves even when everything around is chaotic — especially women. In every era, there were those who expressed strength, character, and independence through their style and behavior. For me, that’s not only about fashion, but also about a special kind of diplomacy — when the external becomes a language of the internal.
I also find inspiration in simple things. Walks without my phone help clear my mind and bring back calm. Conversations with loved ones give me energy that no kind of “motivation” can replace. Books open new perspectives, and even studying can be a source of strength — it keeps me disciplined and grounded. And, of course, creativity itself: music, sports, favorite series, those little ideas that appear out of nowhere. All of it is part of one whole — a life that keeps moving forward.