Scottish Story: Iryna Ditkovska
“Every project becomes a space where everyone enjoys the process — from the first spark of the idea to the final image delivery.”
Text: VIONNE Magazine | Photographer: Nadiia Danylova-Cernei
Model: Iryna Ditkovska | Makeup Artist: Halyna Zapototska
Sometimes, a photograph captures more than beauty — it captures connection, memory, and magic. Scottish Story is one such editorial: a two-day visual dialogue between photographer Nadiia Danylova-Cernei and model Iryna Ditkovska, set against the haunting charm of Edinburgh’s historic streets.
What began as a vision of softness set against stone evolved into something cinematic and intimate — a moment where city, subject, and lens danced in quiet unison. From logistical hurdles to spontaneous applause on the street, this is a story of artistic trust, persistence, and the kind of image-making that lives beyond the frame.
We sat down with Nadiia and Iryna to explore the process behind the shoot, the challenges that became turning points, and the emotional layers woven into each shot.
The Sit Down
with Nadiia Danylova-Cernei & Iryna Ditkovska
VIONNE: Your background includes working as a production manager, camera operator, and sports journalist — how do these experiences influence your current approach to photography?
Nadiia: Working first as a production manager gave me a deeper understanding of how to build a project from the ground up — not just creatively, but logistically. It taught me how to think from multiple perspectives: not only as a photographer or videographer but also as someone who manages the entire process. That experience helps me navigate every shoot more clearly, more empathetically. I know how to communicate with the team, I understand the pre-production steps, and I recognize the pressures on both sides. So instead of conflicts, we end up working in real symbiosis. Every project becomes a space where everyone enjoys the process — from the first spark of the idea to the final image delivery.
VIONNE: You’ve recently explored backstage and documentary work. What excites you about translating that raw, unfiltered energy into a more stylized editorial shoot like this one?
Nadiia: There’s something irreplaceable about real, unfiltered moments. Editorial shoots are beautiful, but they often feel staged — like a memory or a dream. Documentary work captures the now. It’s imperfect, emotional, fleeting — but it’s real. And that kind of truth leaves a deeper mark. When I look at those raw images, they feel priceless. Not because they’re flawless, but because they are honest. They speak louder than any planned concept ever could.
VIONNE: What was your initial vision for this collaboration with Iryna — and how did that vision shift during the shoot itself?
Nadiia: On the second day, it all came together — not just how I envisioned it, but better. We were shooting on this balcony I used to pass every single day on my way to college. For two years, I dreamed of placing something delicate, airy, and pink right there — in contrast with the raw, ancient beauty of Edinburgh. And when it finally happened, I was literally squealing with happiness.
Two police officers on motorbikes actually stopped — not to interrupt, but just to admire. They stood there watching, smiling, and could probably hear me losing my mind in the background. The whole street turned into a celebration. People gathered, stared, smiled — it was as if the shoot became a performance in itself.
And Iryna? She’s magic. I’d say something — or sometimes not even say it — and she’d just do it, exactly how I pictured it in my head. It’s like she sees right through my thoughts and turns them into reality. Working with her feels like a creative mind-meld, and I couldn’t imagine a better person to bring that vision to life.
VIONNE: This shoot was built over two days, chasing movement and stillness. How did the experience challenge or affirm your instincts as a model?
Iryna: This shoot wasn’t easy, as my makeup artist was based in Glasgow, and it took quite a lot of time and patience to build our look — I’d say around four hours just for hair and makeup. But every new shoot is a challenge, so even if the day was windy or overcast, it actually worked in my favor. This soft restraint in my look created a beautiful contrast against the backdrop of Edinburgh.
Let me remind you — it was a cold and windy day, and of course, my hairstyle wasn’t the same as it was at the beginning. On top of that, my transport from Glasgow to Edinburgh arrived late. We knew things weren’t going as planned, but we still tried to capture some shots. They turned out good, but something was missing.
That’s why it actually turned into a two-day shoot — and on the next day, we finally captured those very shots we had envisioned.
VIONNE: You’ve described modeling as “a language” — how does that language evolve when you're working with someone like Nadya, who sees photography as more than just visuals?
Iryna: With Nadya, there’s this unspoken understanding. Her lens isn’t just capturing the surface — she’s searching for something underneath.
Modeling really is like a language — it’s made up of gestures, expression, and energy. That unpredictability pushed me to stop thinking and just feel. I wasn’t trying to control the moment — I was reacting to it, letting the wind guide the emotion, letting the grey sky soften my presence. In that sense, modeling became a conversation between me, the city, the elements, and the lens.
Follow @nadiia_frame | @_ditkovska | @g_z_make_up
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