My interview with Production Paradise
Kyla Elaine is an Amsterdam-based photographer specializing in still life, lifestyle, and product photography. Originally from Calgary, Canada, an itch for change led her to Europe 14 years ago. From concept to creation, to retouching, Kyla is a perfectionist and doesn’t let any small details slide by.
Tell us a little bit about yourself and your professional career.
Kyla Elaine: I think still life photography was always in my bones, though it took me a while to get here. When my dad gave me my first Canon EOS 5 35mm camera at the age of 13, the first thing I did was grab my little brother’s toy car and GI Joe, run out to the driveway, set it up, and take my first picture. I’m originally from Canada and I spent my high school years either in the band room or the darkroom. At that time, photography school was the dream. Instead, my path lead me into advertising, then to Amsterdam, then to production. After only a few months working in production and working with amazing photographers from all over Europe, my fire for photography was reignited and I knew I had to be behind the camera, not beside it. I enrolled in photography school on the weekends, and after a year of working full-time while going to school, I quit my office job and started assisting.
Now, almost 10 years into my photography career I’ve had the pleasure of shooting for clients such as Adidas, Tommy Hilfiger, Calvin Klein, Karl Lagerfeld, Ace & Tate, and Buddha to Buddha. I get to do what I love, every day.
What is it about Still Life photography that you enjoy so much?
Kyla Elaine: I find still-life photography very intimate. A few creative minds in the same room – photographer, stylist, art director, all bouncing ideas off each other to make an image that nails a brief, makes something look spectacular, or creates something new. I also enjoy being able to walk into my studio in the morning by myself, play with an object and light, and walk out at the end of the day with a new piece of art.
What is more important to you, the story behind your images or the technical perfection?
Kyla Elaine: To be honest, I don’t think I can have one without the other. Without a story, I have no starting point of how to light the product in order to set the tone of the image, or how to build the set to compliment the narrative. Technical perfection is part of the story, it’s the grand finale.
How has your style evolved over the years?
Kyla Elaine: Well first of all my subjects changed drastically, When I was living in Canada and wanted to start a photography career I was shooting weddings. I didn’t make it to photography school and was young, green, and thought I already knew it all so I didn’t even grasp all the different types of photography there were. All I knew was I loved the camera, and I loved capturing something beautiful. It wasn’t until I was in Amsterdam and started school that I got to dip my toes into different genres – documentary, fashion, portrait, landscape, lifestyle, and finally still life. After setting up that first studio light and making my first image I was in love.
Once I took off with stills, it took about 4 years to really develop my style. It’s a style that fits my personality, graphic and bold, colorful and exciting, and sometimes a little romantic.
Where do you find inspiration?
Kyla Elaine: I find inspiration everywhere. From conversations I have, to places that I’ve traveled, to becoming a mom. From the way the colors of a sunset reflect on building windows, to the chalk drawings my kids make on the sidewalk. My initial inspiration for really perusing still life came from a Dutch photographer named Bart Oomes. I worked with him as a producer and his technique, perfection, vibe on set, and attention to detail gave me life.
What advice would you give to a Still Life photographer who is just starting out?
Kyla Elaine: I have two pieces of advice.
1. Assist. I learned more in 6 months assisting, than I did during 3 years in photography school. Find as many photographers as you can that you admire and try to get on their assisting team. Every photographer has a different way of doing things and different unique tricks. This knowledge is invaluable.
2. Never stop shooting. Practice, practice, practice. And try it all. I tried interior, portraits, documentary, fashion, etc, but still life is what got me most excited and that’s how I found my niche.
What are your future goals for your work?
Kyla Elaine: Since my career has so far been very fashion focused, my ultimate goal is to shoot a still life campaign for Chanel. But in the meantime, I just want to make cool work, with brands that are trying to make a difference in this world. I want to branch out and work with different types of products outside of fashion, work with new materials, and tell as many stories as I can.
Tackling creative block
As photographers, we often get caught up in the pursuit of that perfect shot, constantly pushing ourselves to create something new, impactful, and visually stunning. But what happens when inspiration just doesn’t come and the ideas feel forced? Creative block is real, and it is so discouraging.
But it's not a dead end; it's an opportunity to reset.
Having just overcome a period of a creative block myself, here are a few tips.
1. Change your perspective and shoot something completely out of your comfort zone. For me, that's people.
2. Reconnecting with personal projects. Perhaps even revisiting those old projects you never got around to finishing and experimenting with something new.
3. Get inspired by other art forms. Who doesn't love to wander around a gallery or museum to get back into a creative flow? I always leave excited to create something new.
4. Collaborate with others. Reaching out to other creatives - art directors, stylist or other photographers - and work on something different. New perspectives can bring new energy. I know I have a few people on speed dial.
5. Embrace the Block. Sometimes, I just need to pause and reflect, recharge, do something for myself.
Creative block isn’t a sign of failure; it’s a natural part of the artistic journey. The key is to keep moving, even if the steps are small. The light will find you again.
When an artist has no boundaries
Shooting editorials is where an artist’s creativity truly comes alive. It’s the space where imagination isn’t confined by commercial expectations, where there’s room to experiment, to take risks, and to explore visual storytelling in its purest form. Unlike commercial work - where the brand’s vision sets the tone and defines the framework - editorials open the door to possibility.
Don’t get me wrong, I love a good boundary; structure can be a beautiful thing. But there’s something undeniably special about being alone in the studio, music turned up loud, lost in the process of making. It’s in that freedom, of trial and error, of testing and tweaking, that real magic happens. You learn, you refine, you surprise yourself. That’s the energy I chase.
Here’s one of those moments: my final shoot of 2024, a fragrance editorial for JFK Magazine.
The very first image
I took a trip home to surprise my dad for his 70th birthday.
While I was there, I went through my old box of stuff. Everyone still has one of those at their folks house, right? A time capsule of my teenage years, filled with bits and pieces of who I was. Mine is packed with photos, sheet music from my high school band days - concert band, jazz band, pit band (yes, I was a band geek) - along with small trinkets tied to key memories.
But what stood out the most? Piles of negatives, darkroom prints, and test strips from when I first fell in love with photography.
Among them, I found the very first photo I ever took. Back in grade 9, my dad gave me my first SLR camera. Instead of pointing it at the dog, a tree, or a person, I grabbed my brother’s toys - a GI Joe and a car - set them up on the driveway, and took my shot. Without even realizing it, I had chosen still life.
At the time, I didn’t think much of that first photo - just a kid experimenting with a camera. But now, standing where I am in my career, I see it differently. That moment was more than just a first image; it was an instinct, a pull toward the kind of photography I was meant to do. Even before I understood lighting, composition, or the artistry of making objects come alive, something in me already knew.
Photography has taken me in many directions over the years, but still life has always felt like home. And in some ways, it’s what I’ve been chasing since that first photo in my parents' driveway.
Funny how life has a way of circling back to where we started.
