The Art of Visual Brand Storytelling With Photographer Ellen Christina Hancock
Shot by Ellen Christina Hancock for Atelier Ellis
“I like the in-between moments because they make us human. How we move in a space, our rituals, our physical dialogue of movement. How you take your tea, your favourite seat with your imprints of calm moments left behind. It says a lot about us, and I am always curious to observe it.”
In this blog post, I want to introduce you to one of my favourite visual storytellers, photographer Ellen Christina Hancock. If you’re familiar with the brand Atelier Ellis (featured in this previous blog post) you’ve likely already seen Ellen’s distinctive work.
Her images, characterised by their striking simplicity and stillness, capture the feeling and atmosphere of a space and moment, evoking an emotional connection.
Ellen talks to us about the art of visual brand storytelling, how she developed her creative style by noticing the beauty in the ordinary, and how she approaches capturing each still or moving image to portray the heart of a brand story.
Q: Can you share your story, how you became a photographer and how you developed your style?
Like lots of people, it wasn’t a linear trajectory. I remember very early on having a discomfort, a yearning to be able to articulate things, the world around me, other people, myself. I was always creative and always exploring but couldn’t find any coherence and was often left very frustrated.
My mum was a photographer. She would endlessly photograph me and my siblings and document her experiments in bursting notebooks. I spent a lot of time watching her in her tiny makeshift darkroom and what I remember most is experiencing the moments of clarity she had, when everything aligned and she created a moment of purity. I longed for the same thing.
For the longest time I just wasn't sure what career I wanted. In the end, purely for the love of it, I decided to study Fine Art and History of Art at Leeds University. During this time I always used photography as a means to explore my work and document things but mostly I worked with sculpture and interactive design. I studied abroad as part of the Erasmus scheme in Istanbul where I also specialised in sculpture but this time in more traditional forms; metal, stone and clay. I spent a lot of time there photographing and taking videos particularly of my daily crossing between Kadıköy (the Asian side) where I lived and Eminönü (the European side) where I studied and the birds that would ceaselessly follow the boats. But during this time and my degree, although I did it a lot, I never considered photography as a path, it was a means to an end, a way to document. It simply didn’t cross my mind to take it further.
At university I would often gravitate to roles that assisted or engaged with other artisans. I was much more interested in organising our degree show and the work others were producing than my own. When I left university this continued. I worked for an architecture magazine and directly for architects doing marketing roles, content creating, editorial - enhancing the work of others. I felt ultimately that this was my place. That I wanted to be in the creative world but I wouldn’t be a creative myself.
While at the architecture magazine I started to do a piece documenting architecture studios, a sort of ‘Day in the life of…’. To save money and time and to give it a more relatable feel, I did the photography. This piece became a regular feature and I started to do more and more photography. There was not a lightbulb moment just a slow realisation that actually I really enjoyed this. I started to carry a camera around with me more, take one on holiday and for several years this went on.
I then went part time while working at an architecture practice and tried to get some professional photography work. This was a long and laborious slog! I took every job I could get, in every field, of every type. I finally started to get some traction and lockdown hit.
To cut a long story short, lockdown is when I found my style. I had to move back in with my parents, had no work and like all of us was struggling with the enormity and devastation of what was going on around me. It was a year and a half before I could afford to move out again and return to London but in that time, having reached a version of rock bottom, I photographed and studied every day, relentlessly. I was very lucky to have my parents and their support so I took the opportunity to learn as much as I could. Walking the same route everyday, observing the same four walls, the same people within them, I observed all the small changes. The light throughout the day, flutters of transition as the seasons began to change and tried to find purpose in these moments rather than relying on interesting buildings or overt beauty in front of me.
Towards the end of this time and as lockdown was lifting, we visited The Weald and Downland Museum nearby. As we were walking in the gardens I noticed some berries starting to ripen and some dappled light calling them to my attention. This was one of the first moments I played with underexposing and overriding the camera’s meter reading. This was a pinnacle moment, probably the only one I can recall in my life, this was my way of seeing and my way of communicating it. A moment of hope in the darkness, a longing acknowledged.
Eltham Palace shot by Ellen Christina Hancock
Q: You describe approaching your work with curiosity and a desire to encourage natural and authentic imagery that tells a story - can you expand on what you mean by that and why you always want to tell a story?
I think really it comes down to connection. I have such a strong desire to be heard and understood - to connect - truly and deeply with someone and so I would like to allow that space for others. It is fascinating to me that I can turn up to a complete strangers house/studio/place of work, they allow me into their safe space and within a couple of hours we have shared something really special and hopefully had a moment of genuine connection. I try to honour the trust they have given me, whether in shooting their work or themselves and to show it as earnestly and truthfully as I can. It is that connection between us that I want to show, not my interpretation. I do not want to come in, take over, share a curated version or just my version of events. It is the shared experience we have had - how they have told their story and how I have heard and received it.
Q: You capture light and dark so well. How do you use the qualities of both to enhance the storytelling in your work?
I think it is an understanding that there are wonderful things in both. There is great depth to be found in the dark and hope in the light but the two can only exist and are at their best in the presence of each other. I want things to be seen and admired as they are.
It is, of course, inextricably tied to me as a person too. I am not an overtly and consistently joyful, upbeat person - I am glass half empty to be sure. But I am thoughtful, kind, reflective and considered and try to be accepting of my nature and its complexities - there is good in it all and I want to show and see value in showing these variations.
Shot by Ellen Christina Hancock for Atelier Ellis
Q: You seem to work closely with a small number of clients. I especially love the images you create for the paint company Atelier Ellis. There’s so much atmosphere, the sense of peace and the feeling of home - how do you work together to create such beautifully rich storytelling and does it help creatively to have a long-term relationship?
There is a lot of preparation beforehand that allows for spontaneity and creativity on the day. I will ask for details of the project, what the aims are, particular shots, any inspiration and also images or things that are not right. I find a lot of the people I work with find inspiration in a variety of places like I do so there may be a visit to a gallery, a novel of importance, a film to watch but there is a lot of gathering of inspiration.
We then try to create a bit of structure to the day depending on the light, priority images and peoples’ availability. Some formality to create foundations but as I say then on the day we try to keep it as free as possible. We try things and if they do not feel right we will not continue on with them, we will explore something new if it presents itself and we always have our notes and brief to refer back to and check in regularly.
I am particularly lucky with Cassandra from Atelier Ellis, she lives and breathes what she preaches and is an inspiration to work with, as is her team. Our long-term relationship is now a friendship and a shared love of art, literature, fashion, food, ceramics, an appreciation for kindness, all of which informs what we do. Nowadays we have a visual language together and can work very seamlessly. What really elevates this from both sides is trust - I fully trust and am invested in her vision and she trusts in the way I translate it.
I think the key with a long-term relationship, and this is something Cassandra and I strive for, is to continue to grow. We are always questioning what worked well, what didn’t, thinking how, can do that better, striving for more.
Shot by Ellen Christina Hancock for Atelier Ellis
Q: The short film clips have your distinctive artful look, but the subtle movements you capture always have a sense of life, a hint of a person in the room, it’s as if they’ve just popped out…the whiskey settling in a decanter, the rising smoke from a candle, a linen curtain gently moving in the breeze. How have you translated the storytelling of your stills photography into moving images?
On a practical level - I started video because I felt if I wanted my business to last, I had to. However, I took the approach that if I started on my own terms I would be able to do it in a thoughtful way and with the emphasis on enhancing my work.
I observed that when I was shooting there were moments where natural movement occurred that would suit the format. We might have the window open to shoot because it is warm and a breeze comes through and brings it alive for video. Or we are having a coffee break and the setting catches my eye and looks appealing. I do not however force the movement. The photography comes first, the frame is set and then the movement extends on from there, this way the two can sit comfortably along side each other and elevate one another.
On another practical note, shooting video is very different to photography, you are almost trying to shut out the light rather than let it in. There are stages with video though that mean I can break my learning into manageable chunks and progress technically in quite a methodical way. Cine stills are a useful and obvious way to start, then you can introduce more movement, come off the tripod and then start thinking about sound which is a whole other kettle of fish.
It’s always helpful to be learning and thinking about new ways of seeing. This learning then engages my photography and new challenges and parameters push me to keep thinking of other ways to tell stories.
Images above show details of Nancy Nicholson, weaver and textile artist photographed by Ellen Christina Hancock
Q: How do you capture people in your images - you seem to always be able to show so much character? And then in your moving stills - I’m thinking of the ones you created for Berdoulat - but in others too, people are often only slightly in the frame, in the distance or walking away. Why do you choose to capture it that way and how does it add to the story you want to tell?
Ultimately, I want to enjoy my days. I have taken a huge risk working for myself and one of my main intentions in doing so is to have more control over my life and to enjoy my time as much as possible.
I want to meet new and interesting people and hear about their lives. I think it is about prioritising the person not the shot. I take the time to talk to them, to find out about what they are doing, how their day was. I hope what is coming across in the imagery is our connection, me being genuinely interested in their character and who they are and giving them space to be that person. With this approach I find the best shots follow.
I like these in between moments because they make us human. How we move in a space, our rituals, our physical dialogue of movement. How you take your tea, your favourite seat with your imprints of calm moments left behind. It says a lots about us and I am alway curious to observe it. I think we often say more about ourselves in those moments and people are more relaxed and comfortable being observed in this way.
Part of it is also about not wanting to invade peoples’ space or force them into being front and centre if they do not want to. As a female photographer, it is hard for me to photograph certain situations - I am not necessarily safe doing street photography for example and in the past have put myself in situations I shouldn’t have. I already have one eye on my surroundings to make sure I am not in danger, I cannot always risk averting my gaze further for the sake of a beautiful shot. Equally as a woman I feel I am often watched and observed when I don’t want to be. I try always to think how would I feel if I had a camera shoved in my face on the street, or was forced to perform in a certain way. If it is uncomfortable, unsafe, or uneasy for someone I will not ask them to do it. It is not a common view but the shot is not always worth it and I would rather respect people. If I observe people in a beautiful composition, I can appreciate and take on the moment in person, enjoy it as a nice composition then walk away knowing it will have informed and inspired in some way.
Q: Your work really stands out. Its crafted simplicity is visually striking and bold amongst the noise and busyness of so much online content. Do you think there’s a power in being quieter and slower?
That is a very nice thought and I hope so but I also think I am unable to be otherwise, to be loud!
With social media I really am just not able to show up other than how I already do. I try to craft longer captions, to say more on stories and it just feels forced, therefore I would rather not do it. I would rather save my energy to engage with people in person, on shoots and then let the photography talk for me.
But the people I really engage with online are those who produce at a slower pace, a quality over quantity approach. I look out for their content, I save it and refer back to it regularly and I think that is powerful. It becomes knowledge that informs me rather than a fleeting interest.
Q: How do you work creatively with your clients to ensure you’re capturing an image that always works for them commercially?
I think this is again about understanding your role in the process, not being too dominant with your own vision as a photographer and knowing the importance of the function of the image. There will be times when the primary focus of the image is to create an atmosphere and a feeling and these can be more loose but when an image has a commercial function, whatever is being sold must be the most important thing and be made to look its best. Beauty is still very important but is not the primary function and that must be remembered. If everything is well prepared and carefully considered then the imagery will be consistent and multifunctional.
I find for a more commercial image, often it is key to pare things back, especially props, and play a bit more with the light. I am always thinking about whether something is distracting me, is my eye being pulled away to something else. If it is and it is not to the thing you are selling then you need to rethink. Everything must be focused on enhancing the subject.
Q: What other brand(s) have visual storytelling that you particularly love?
I am particularly invested in brands that keep me looking at their content and products. I may not be able to afford their product yet, or I haven’t visited the city they are in but they stay ever present in my mind as an aspiration and thing that I can envisage adding joy to my life. Most of the time this is because they are showing the time, effort and skill that goes into their product.
I love seeing how things are made, the materials used, where they found the materials, the techniques they use - I am ever curious and brands that show this kind of content will always have my interest.
Runaway Bicycle is a constant source of inspiration for me. It is all about the handmade. It is about them as people and the community that supports them.
I think restaurants are doing really well at promoting themselves at the moment. Albers is a new restaurant in London and they share really joyful humorous posts that really appeal - I adore this video. I haven’t eaten there yet but am desperate to try. Bistro Freddie also share very relaxed videos on how they make their dishes - they are consistent and very alluring!
I always love to see work by Studio Lineatur. Again, they share their process a lot, mood boards, construction site images. We see the team a lot, just doing their thing and they put a lot of time and energy into creating really beautiful imagery but of the whole process not just finished product. I would love to be their friends which I always think is a good sign!
Q: What’s the next chapter for you?
My main goal is always to keep learning - I still feel at the very beginning of things. With video I have much more to learn practically and with photography I feel there is still so much more to explore, especially with portraiture.
I would also like to develop a few more personal projects. I am working on one at the moment exploring wool - its journey from sheep to loom, in collaboration with Nancy Nicholson and I would like very much to do more things like this.
Lastly I am always seeking a way that my work can offer some good back into the world. I think perhaps this is taking on a more documentary journalistic stance and this is something I would like to explore within both photography and film.
Thank you to Ellen for her beautiful answers and sharing her insights on visual brand storytelling - we have been left feeling very inspired. You can find Ellen’s latest work on her website and follow along with her story on Instagram.
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