This picture was taken by my grandfather in Polotsk, Belarus when I was around 3 years old.

My grandfather served in the military, but he also had a strong passion for photography, as did many people at that time.

He had a large collection of various cameras at home and often took pictures of his family, friends, and anything else that interested him. Over time, this became a photographic diary of his life.

I still remember the red light coming from the bathroom where he developed the films himself. As a child, it was such a mesmerizing and magical experience for me.

Thanks to my grandfather, we now have countless photos in our family archives. These images still play an important role in our lives, helping us to preserve memories of the past and remember our friends and relatives and our lives back then.

Most of the photos were in black and white, which may be one reason why I developed a special affinity for black and white photography. Who knows!

I am frequently asked this question. Please find below a range of responses I have given on this topic during previous interviews.

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Belarusian artist Jurij Treskow was drawn to the world of photography not by a fascination with cameras, but by the intoxicating lifestyle of high-end fashion. It happened when he was still a student, when a friend's cousin, a model, visited from Lithuania. "She would tell us stories of her travels, the world of fashion, and photo shoots," Treskow says.

Maxim USA 2017

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It annoys me when I'm asked the same questions over and over again. At first, it was flattering, but now it's maddening. "How did you start doing photography?" Oh, for heaven's sake! It's because I couldn't do anything else properly and still can't.

Sladkoenapotom. 2011

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I took my first photos with my grandfather's camera. I took pictures of everything I saw, which wasn't much back then. I didn't have a strong passion for photography at first; I was fairly indifferent to it. I enjoyed looking at photographs more than taking them, like any other child would. But my love for photography came later, as a result of my love for life.

KYKY 2013

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From my childhood, I remember the rare, boundless amount of film my grandfather used to shoot, which was uncommon at that time. The boundless amount of developed film equated to billions of boxes of black and white photographs that I still love to look at today. Perhaps this was the beginning of the reason? The continuation took place in Germany, where my first success came when my project was chosen as exemplary during an art class on the topic of "photography." It was the moment when I realized that I could be better than others in something, and it didn't depend on knowledge but on skill. The third part of the reason, in the best traditions of life's paths, was a coincidence. My friend, who worked at the "Elephant" modeling agency in Brest, suggested I take pictures of the girls. "Take pictures" is a very fitting word for that stage. Honestly, it was a photoshoot to get to know the girls

Fatal 2018

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At first, I used to photograph morning dew and various small objects. Macro photography was my preference. There was a website called skill.ru where I used to post my works, and there was a comment and rating system.

I was one of the first registered users because I knew the creator of the project. At that time, there was a very peculiar online community. The incentive to post photos and receive feedback from people was very exciting back then, around 2002-2003, or perhaps a little earlier. It was great for expanding my horizons and connecting with people, even if it sounds strange. I posted all kinds of pictures, and at the time when there were rankings, I was in the top 10, not because of quality but simply because of my persistence and methodical approach. Gradually, these photos led me to realize that if you photograph people, you get a higher rating.

Later, I moved to Brest and stayed with my friend who was a stylist. He had contacts with models from the "Elephant" modeling agency, and he told me that there were a couple of very talented girls and suggested that we organize a photo shoot with them as friends. At that time, it was just a photo shoot where I asked the models to bring some clothes, and I came up with various different concepts, bought red threads, and brought strange things from home..

Odyssey 2019

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Treskow took a camera for the first time at three years old. His grandfather was an amateur photographer and collected old cameras that he used as building blocks to build his fantasy worlds, as precious pieces of Lego in the last breaths of the Soviet Union. Three decades later, the camera remains the element he uses to catch his fantasies. His main influences are Avedon, Newton, Bourdin and Penn.

Solar 2018

I assume that getting to know an artist's biography can help you understand their creative work and artistic vision. Knowing about their background, upbringing, and personal experiences can give you insights into the context and motivations behind their art. By learning about their struggles, social and political environment, and cultural influences, you can better understand the themes and messages in their work.

In general studying the biography of an artist can also provide inspiration and guidance for other artists who may be looking to develop their own creative practice or overcome obstacles. The life story of an artist can offer a unique perspective on their work and can help you appreciate the impact they have had on the art world.

There are several biography books by artists that have greatly influenced my perspective on what it means to live as an artist.

Some cool biography books written by artists are "Just Kids" by Patti Smith, which recounts her early years in the New York art scene with Robert Mapplethorpe, and "The Andy Warhol Diaries," which gives a behind-the-scenes look into Warhol's life in the 1970s and 1980s. Other noteworthy biography books by artists include "The Autobiography of Alice B. Toklas" by Gertrude Stein, "The Painted Word" by Tom Wolfe, and "The Story of My Life" by Helen Keller.

Jurij was born in Belarus and later moved to Germany at the age of 17. In 2008, he discovered his passion for photography while living in Berlin. One year later, he made the decision to relocate to Paris, where he pursued his career as a professional photographer.

Jurij Treskow is a photographer who specializes in fashion and portrait photography. His style is often described as provocative, sensual, and bold, with a focus on the power of seduction. He has worked with various high-end brands and publications, and his work has been exhibited in galleries around the world.

Jurij lives and works between New York, Paris, London and Berlin.

Instagram
fatal.systems

The Impression USA
Maxim USA
Fucking Young Sweden
The Contributor Sweden
Glass Magazine UK
Kaltblut Germany
Tush Germany
Keen Magazine Germany
Grazie France
Lui France
OOB France
7000 Magazine France
Normal France
Solar Spain
PSM Magazine Spain
Vogue Russia
Marie Claire Russia
Instyle Russia
GQ Russia
Esquire Russia
Harpers Bazaar Russia
Numero Russia
Interview Russia
Elle Ukraine

When I was 17, my family moved to Germany from Belarus.

Initially I didn't have a particular interest in the arts. However, an art class in gymnasiom introduced me to photography. We shot some images on film, developed them in the school lab, and made collages from them. The curator was impressed with my work, and that gave me the motivation to explore photography further.

I received a camera from a friend and began taking photos of nature, flowers, landscapes, and my friends. I shared some of my work online and later started shooting models for my friend's agency. I had no experience with mood boards or technical aspects of photography, and I didn't have any expectations for the results.

I saw myself as a curious amateur who was willing to explore and experiment with new ideas. I shot thousands of photos per session and eventually had hundreds that I liked. My friends gave me feedback, and I fell in love with photography.

I came back to Germany inspired and sought out more opportunities to pursue my new hobby.

In Brest, I bought a Canon 20D camera for almost $900 from my friend. At the time, it was considered a pretty good digital camera. My friend showed me the basics of how to use it, and I initially used an automated mode for my first few shoots since the manual mode was too complicated for me.

Unfortunately, just two weeks later, the camera broke - something went wrong with the shutter. I had to give it back to my friend for repairs, but I didn't have time to wait for it to be fixed since I had to go back to Germany. Instead, I got a Canon 30D camera with a 50mm 1.4 lens.

Using a fixed lens turned out to be a great learning experience for me. It taught me how to physically move to get a better composition and made me appreciate the shallow depth of field and bokeh effect that you can achieve with a wider aperture. I often used this effect in portraits and was amazed by the results.

Another advantage of using a fixed lens is that it performs better in low light conditions. For a beginner like me, the 50mm lens was a perfect choice - I could take full-length photos and great portraits for a relatively cheap price.

Since then, I've been a loyal fan of Canon products.

Olga was one of the first professional models I worked with in Brest, and she later became my mentor in fashion photography.

During our photo shoots, she would come prepared with a variety of outfits, different makeup and hair ideas, and even location suggestions that would complement each look. She also had a collection of references and mood boards for lighting, poses, and different compositions. This level of preparation was new to me.

After our shoots, Olga would sit down with me and help me with the final selection of images. She explained the basics of fashion photography and stressed the importance of learning how to shoot clothes and how to work with and direct models. With her guidance, my photographs improved significantly.

She also introduced me to various fashion magazines and photographers to study, which encouraged me to take photography more seriously and to conduct more research on photography and fashion in general.
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From this encounter I understood that it's key to find someone who knows their stuff and has experience in the areas you want to grow in. They should also be cool with sharing their knowledge, giving you pointers, and giving you feedback.

While I was still studying economics at the university and attending daily lectures, my newfound passion was taking up more and more of my time.

I had plans to organize new photo shoots with models in and around Freiburg, so I did some research on websites with models and came across www.model-kartei.de and www.modelstyle.de. These websites offer mostly amateur and semi-professional models, as well as stylists, makeup and hair artists for photo shoots. I uploaded some of my recent photographs to create my first portfolio, and although I found some models I liked, most of them were not from Freiburg.

When I found a model I liked, I would create a something that you can call a mood board and send her a message asking if she was interested in shooting together.

Olga from Brest taught me how to use mood boards to translate my ideas into visuals. If the model liked the concept, we would set a date and meet up for the photo shoot. In the beginning, I didn't have a team and it was just the two of us. I often used a nearby park close to my apartment in Freiburg as a location for my first photo shoots. It was convenient because we could always come back to my apartment to change into another look and then head back out to continue shooting.

After a few months, I felt confident enough to join professional photography platforms and share my work with other photographers. I wanted to receive feedback and improve my skills.

At that time, there was a very popular photography platform in Russia called photosight.ru. It was one of the most respected websites for photography and featured the portfolios of many great photographers, both professionals and amateurs. I spent hours on this website browsing through other photographers' portfolios and often messaged photographers I liked to ask them questions about photography. I wasn't afraid to ask questions.

Over time, I received some positive feedback on my work. The comments and criticism were more substantial than what we typically see nowadays, with users providing reasoned opinions about your work rather than just texting emojis. Their criticism helped me realize what worked in my pictures and what didn't.

Photosight.ru had a ranking system among users. Images with the most comments and ratings would be shown on the main page, and users could upload more images per week. Otherwise, they were limited to one photograph per week. This competitive element motivated me to improve my skills. I started investing more time and energy in reading books on photography and taking online classes on retouching with the goal of enhancing my skills.

Antonioni's masterpiece "Blow-Up" left a profound impact on me. The film follows a day in the life of a glamorous fashion photographer in 1960s London, and for the first time in my life, I was able to see what the life of a fashion photographer could look like in detail.

Years later, I had the incredible opportunity to photograph one of the main characters in the movie, Veruschka, for a Russian Numero magazine in Moscow. She had come to the city for her exhibition at the MMoMa, and we took some stunning portraits of her.

For an hour, Veruschka was giving an interview, and throughout that time, I was trying to come up with ideas for how to photograph her. I couldn't believe what was happening, since Veruschka had worked with some of the greatest contemporary photographers.

The magazine requested a basic portrait.

We had no more than 10 minutes for the entire photo shoot. She was surprised to learn that I spoke German, but helped me relax and start working. She noticed my nervousness and took the initiative, suggesting which angles and lighting to use. The 10 minutes flew by in a flash. It was an unforgettable experience and memory.

Back in 2007, I did my first photo shoot with a model named Helena. I found her profile on model-kartei and asked if she was interested in shooting together. Helena was already an experienced model with a portfolio filled with editorial and commercial work.

After sending her a mood-board with some ideas, she came to Freiburg a few days later with outfits that fit the references. I was thrilled and excited. Helena's poses and moods inspired me a lot during the whole 5-hour shoot. It felt like just 5 minutes had passed.

Some of the images we captured ended up looking like the very beginning of a new style that I would develop in the following years: la femme fatale. It was all about a strong, confident, sexy woman in full control.

I made the decision to take a bold step on my own.

After completing my studies at gymnasium, I enrolled at the University of Freiburg to study economics. At the time, I wasn't exactly sure what I wanted to do professionally, so economics seemed like a safe choice.

Initially, I enjoyed my first two years at the university, attending lectures and participating in campus activities. However, photography slowly began to consume more and more of my time, and I found myself more interested in pursuing it as a passion. I became curious about where this newfound interest could lead me.

After two years, I found myself feeling stuck in Freiburg. I couldn't find the models I wanted to shoot, and I began contemplating a move to Berlin.

I had never been to Berlin before, and I didn't have any friends, a place to stay, or any job prospects. It was a risky venture.

When I shared my plans with my parents, they were understandably confused. They asked me about finishing my studies at the university, where I would stay, and how I planned to finance this new move. I didn't have clear answers, but I felt an intuition telling me that I had to take the leap.

I told my parents that I would transfer to a university in Berlin to continue studying economics, which would enable me to maintain my scholarship and pay for my apartment and living expenses.

I am grateful that my parents supported my dreams and my move to Berlin. I packed my belongings, got a train ticket, and traveled four hours from Frankfurt to start my new journey.

Berlin in 2007 had a distinctive and unparalleled atmosphere. It was raw and untamed, famous for its sex appeal and poverty. The city was the capital of techno music and a burgeoning art scene. Young creatives from all over the world moved to Berlin to pursue their dreams, and the energy pulsated in cycles and spirals from everyone and everything.

Luckily, I found a beautiful room in the city center at Rosenthaler Platz in Mitte. I shared the apartment with two girls from Paris who came to study economics in Berlin, and we became good friends. We spent a great year exploring the city together.

For days, I walked through the streets, squares, and parks of Berlin, studying the city map and immersing myself in my new world. I fell in love with my new home, drawing inspiration from everything around me: the architecture, galleries, clubs, cinemas, cafes, city history, and the people I met.

All of this had a significant impact on me, transforming my perspective and vision for photography.

I created a list of the best schools in Berlin for photography education. I selected two top institutions, LETTE VEREIN and KREUZSCHULE, and brought a portfolio of around 15 of my photographs from Freiburg and Brest to show at my appointments.

During my visits, I received some positive feedback on my portfolio, with the instructors noting that I already had a recognizable style. However, they advised me that it might not be the best time to apply and suggested that I continue taking photographs for another year before coming back.

Upon further research, I discovered that the course was a 3-year commitment with 6-8 hours of classes per day and a hefty price tag. As a student of economics, I wasn't sure how I would juggle the demands of both courses, and ultimately, I didn't feel prepared to dedicate another 3 years to studying photography.

While I applied to both institutions, I was ultimately rejected a few weeks later. Despite this setback, I remained grateful for the opportunity to explore my options and continue pursuing my passion for photography in other ways.

Mastery is the fifth book by the American author Robert Greene. The book examines the lives of historical figures such as Charles Darwin and Henry Ford, as well as the lives of contemporary leaders such as Paul Graham and Freddie Roach, and examines what led to their success.

It takes around 10 000 hours to became a master in almost every field.

1. Apprenticeship - you must choose places of work and positions that offer the greatest possibilities for learning. Value learning over money. Keep expanding your horizons, experiment, trial and error mode.
   
2. Creative-Active. Instead of feeling complacent about what you know, you must expand your knowledge to related fields, giving your mind fuel to make new associations between different ideas. Look at problems from all possible angles. In the end, you will turn against the very rules you have internalized, shaping and reforming them to suit your spirit.
   
3. Mastery. Learn how to quiet the anxiety you feel whenever you are confronted with anything that seems complex or chaotic.

Why it's important?

Working in a team is an essential aspect of photography, especially when it comes to commercial projects. It's not just about being able to communicate effectively with others, but also about being able to work towards a common goal and use everyone's strengths to create the best possible result. Whether it's collaborating with models, makeup artists, stylists, or other photographers, a successful team effort can elevate a photography project to the next level.
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I continued to organize new photo shoots primarily through web platforms for amateur models. In Berlin, I had more model options available to me than I did in Freiburg and Brest.

I also reached out to some modeling agencies in Berlin to arrange shoots with their models. However, the agencies would only send me new faces from their packages.

My next step was to assemble teams. I conducted online research for stylists, makeup artists, and hairdressers in Berlin. I would review their portfolios on their websites, then send messages to the selected artists to discuss collaborating together. I would share mood boards and ideas for potential photo shoots. Not all artists responded to my requests.

After a few months, I was able to build my first organized teams. We would discuss ideas for our photo shoots, select locations, and create mood boards. Stylists would bring outfits, and makeup and hair artists would work on the models' looks. This collaboration transformed my photos, making them appear more like fashion shots and more sophisticated. I asked many questions about the fashion industry, such as how to start working for magazines, shoot campaigns, and acquire models from modeling agencies. I let my curiosity guide me.

Through our collaborations, I learned a great deal about the fashion industry and working in teams. I continued to build new connections and organize more photo shoots with new artists, learning by doing.

Most of my earliest photo shoots were unpaid. For the first few years, I didn't even think about charging for my work.

Sometimes I even had to spend my own money to make photo shoots happen. For example, I would pay for the models' train tickets or taxis to get to Berlin or the studio. These were my first small investments in photography.

Another significant factor in my progress during this period was finding more exciting locations for my outdoor shoots. I would walk the streets of Berlin, marking interesting spots for future photo shoots. Great backgrounds made my photography look even more compelling.

I did a shoot with Julia, a model from the Izaio model agency, at Liquidrom in Berlin. It was a big production with a stylist, makeup artist, and hair artist. Preparations took several weeks, and we even did a fitting a few days before the shoot to confirm the looks.

We got great results in the end, and everyone was thrilled with the outcome. It was an amazing feeling of joy.

I uploaded some of the photos to photosight.ru, and one particular image received a huge amount of feedback with many praising comments and reviews. For several weeks, this image was at the top of the charts.

In this photo, I was able to achieve a perfect artistic balance between composition and geometry, styling, and pose. Everything worked together perfectly. It's still one of my favorite photos I've ever taken.

This was a big achievement for me, and it made me more confident about my photography. The external approval from many professional photographers was a good sign that I was on the right track.

When people praise you for something, it's very pleasurable and gives you the energy to keep doing it.

In the end, these images were even printed in an independent fashion french magazine. Me and the whole team were ecstatic.

During my first few months in Berlin, I was completely immersed in studying photography and learning about different photographers and their works. Whenever I came across a photographer whose style I liked, I would gather as much information about them as possible. This included not just looking at their photographs, but also reading interviews and watching videos to understand how they approached photography, learned new techniques, and evolved as professionals.

Photographers like Helmut Newton, Richard Avedon, Paolo Roversi, Sarah Moon, Irving Penn, and Sante D'Orazio were some of my biggest inspirations and became my mentors in the field. In particular, Helmut Newton, who was born in Berlin, had a special significance for me as he strengthened my bond with the city.

During this period, I visited numerous art exhibitions throughout Berlin and attended many of the cool events happening almost every day in the city's art scene. I made it a point to attend gallery openings, art events, and museums, gradually immersing myself more and more into the art world.

https://helmut-newton-foundation.org

1. "Helmut Newton" by Philippe Garner, published in Art & Design magazine in 1982
2. "Helmut Newton: Photographer" by Alain Elkann, published in The Paris Review in 1990
3. "Newton's Law" by Kira Jolliffe, published in The Observer in 2001
4. "In Conversation with Helmut Newton" by Scott Hall and Michael Sidel, published in American Photo magazine in 2003

These interviews offer insights into Newton's life and work, as well as his opinions on photography and the art world.

As I started working in teams, I noticed that my images were becoming more sophisticated and fashionable. Collaborating with stylists, make-up and hair artists, and having access to more professional models played a significant role in this improvement.

One of my photographs was featured on a popular German TV show called "Germany's Next Topmodel." During the show, the judges were reviewing the model's portfolios when they came across my photograph. They were so impressed by it that they asked who the photographer was. One of the models then replied that it was taken by me, Jurij Treskow.

When the model sent me the video from the show, I was both surprised and proud. I immediately forwarded the video to my parents, who were also thrilled to see the recognition I was receiving for my work. It was a great moment that reminded me that my hard work and passion for photography were starting to pay off.

Vsya Evropa is a Berlin-based fashion magazine catering to affluent Russian-speaking readers, including residents and travelers in Western Europe for both business and leisure.

One day, I reached out to the magazine's office to schedule an appointment with the editor-in-chief. My aim was to collaborate on shooting editorials for the magazine. I brought my amateur fashion shots portfolio to the interview, which the editor-in-chief found quite interesting. She then suggested I take some backstage photographs during their next editorial. Although I had expected to shoot their next editorial myself, I agreed to the offer, eager to learn about magazine editorial shoots.

On the day of the shoot, I met the entire team, including a professional model from the best model agency in Berlin, a photographer who flew in from Israel, along with many assistants to help her. Throughout the shoot, I observed and studied the photographer and her team. I was keen to learn how she directed the model, what equipment and lighting she used for each look, how she chose locations and set-ups for every look, and how she communicated with the editorial team and assistants.

While my primary job was to take backstage photographs, I also took many photos of the model posing for the other photographer. Thus, on some of the images I shot, the model is not looking in my direction.

A few days later, I sent all of the images from the backstage, along with some of my favorite shots of the model, to the editor. To my surprise, they decided to include some of my photos in their print issue, as they didn't like the other photographer's shots much. I could imagine how the other photographer would have felt, but that wasn't my problem or fault.

About a month later, I bought my first printed editorial at a bookstore and sent a copy to my parents. Another mission accomplished!

The collaboration with Vsya Evropa's editor had gone so well that I was recommended for a photography job with Patrick Hellmann, a well-known German brand. ( Patrick Hellmann is a German fashion designer and entrepreneur. He is the founder and owner of the luxury fashion brand Patrick Hellmann Collection, which is known for its high-quality suits, menswear, and accessories. The brand has flagship stores in Berlin, London, and Beijing. )

Natalia, the editor, had a good relationship with one of the magazine's advertisers and suggested me for the job. I was over the moon - not only was I about to shoot my first campaign, but it was also for a reputable brand and the pay was good.

Before the shoot, I was briefed on the concept and given references by the designer and his team. We were to shoot at his spacious mansion in West Berlin, which was decorated with designer furniture, but it was also quite dark. We needed to use strobes for the shoot, but I had no prior experience with them.

To help me, I enlisted the help of my friend Robert, who was also a photographer with more experience than me. He booked the right equipment for the shoot and showed me how to use the lights on set. We worked together to shoot 6-7 images for the campaign, and Robert even helped me with the retouching process since my skills were not yet at a commercial level.

The client and I were thrilled with the results. The images were not only used as advertising in magazines but also in some of his shops across Europe. This was a fantastic opportunity to work for a big client, and it became clear to me that I needed to learn more about retouching and lighting or have enough budget to hire an assistant.

Robert and I became good friends, and he eventually invited me to work together on a look-book photoshoot for the famous Berlin designer Kilian Kerner. The shoot took place in a photo studio with two models, and it was a large production. Robert was the primary photographer, but I also got the chance to shoot three or four looks.

I learned a great deal by watching Robert work with the lights and direct the models, and I took plenty of notes to try out on my own shoots. As my portfolio improved, I started sending emails to other Berlin designers, offering my services to shoot look-books and campaigns for them.

My next project was a look-book for a brand called Redspectiva. I found a fantastic location that matched the client's mood-board, and we took some photographs outside with a German actor named Kai.

One day, a Berlin-based stylist sent me an email looking for a photographer to shoot for a French magazine, and I was definitely interested. We exchanged ideas and references for the upcoming shoot, which featured a male model.

In the end, we shot some images in my studio and others on the streets of Berlin. This was back in 2008, so there weren't as many tourists as there are now.

I had the freedom to experiment with the lights and created some crazy set-up designs for the studio shots, which was a lot of fun. It was also fascinating to see how the magazine would lay out our images and how that would affect the overall perception of the shoot.

Slowly but surely, I was beginning to enter the world of fashion

I was incredibly lucky to find a spacious studio with large windows only 10 minutes away from my home for only 45 euros per month. It used to be a school, but the classrooms were converted into offices and photo-studios.

The next step was to acquire lighting equipment. I needed strobes for my studio shoots. After doing some research, I chose a German brand, Hensel. Honestly, I didn't know much about other brands or types of lighting equipment, so I went with German quality. It was quite expensive, but as a student, I was able to get it at a discounted price.

I got two heads, a beauty dish, and travel bags for future shoots. In the following weeks, I photographed my friends and experimented with the strobes, trying out new ideas and settings. I wasn't interested in reading the manuals and applying conventional techniques to my images. I've kept this amateur approach to this day, trying to invent new lighting schemes and patterns based on my artistic intuition for every shoot.

In my early years, I tried to learn about the technical aspects of cameras and lighting by reading articles and books. However, I found the information dull and overly complicated. To gain experience and knowledge, I focused on mastering the four fundamental settings: Censor, Aperture, Shutter Speed, and ISO, and practiced continuously.

As I became proficient, I transitioned to manual mode. Later, I gained a deeper understanding of perspective, geometry, and using light and shadow to create beautiful photos.
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If you want to become a great photographer, you gotta teach yourself some things.

Photo Schools are cool, but it's not everything. By learning on your own, you can find your own style and creativity. There's tons of books and stuff on the web that you can use to develop your craft and try out new techniques. It's not just about the fancy gear and equipment, but also about staying current and evolving with the times. The world of photography is always changing, and if you don't keep up, you'll be left in the dust. So keep learning, keep growing, and keep taking dope pics!

In 2009, I started a project called "SladkoeNaPotom" (SweetsForLater) in Berlin, inspired by the popular magazines Snob and Esquire.

The project aimed to feature interviews with Russian-speaking photographers, models, stylists, designers, and other artists who worked internationally, creating a new way of thinking, life rules, worldview, and value system for the modern man.

I reached out to newcomers artists like Svetlana Tanakina, Valeria Lazareva, Alexandr Rogov, Dmitri Loginov, Masha Rudenko, Alina Lebedeva, Lys Inger, Esther Guer, Sasha Samsonova, Cate Underwood, and Nikita Manin, most of whom became good friends later on.

I registered a website, designed it, prepared interview questions, and emailed the artists to explain my idea. Many of them were happy to participate, and I edited the interviews and published them online.

The project proved useful when I later arrived in Moscow as I already had friends in the fashion industry thanks to this project.

For my SladkoeNaPotom project, I made interviews with models and one of them was Lys Inger from Moscow. We kept in touch after the interview was finished and published, and soon decided to meet in Amsterdam.

To cut the long story short, we fell in love and I made the decision to move to Moscow.

I had always toyed with the idea of moving to Moscow, as I had a strong connection to Russian culture, history, literature, and traditions. I had spent a lot of time in Belarus and many of my friends had already moved to Moscow and were telling me exciting stories about the city, which piqued my interest.

When I told my parents, they could not believe it was for real. They were initially wary of the idea, as Moscow had a bad reputation and was still plagued by the dark legacy of the 90s.

But nothing could stop me. I was determined to make this move, partly because I had fallen in love with Lys and partly because I believed I could make money with my photography in Moscow.

I still don't know where this unrelenting determination comes from.

Today, I can attribute my photography's dark period to my inadequate technical skills in handling digital cameras and equipment. It was easier to create eerie and sometimes scary images, to break rules and challenge conventions.

Many photographers undergo this phase in their career, just as beginners painting or playing an instrument create hectic brush strokes or press all keys on an instrument they do not know how to play. These creations have a special value to them.

I did not study instructions, but instead played with the settings on my camera and lighting equipment to achieve some unusual and captivating effects. I worked with amateur models who often posed awkwardly, and I too did not know much about posing and directing models. I lacked an understanding of how to materialize my ideas through model direction.

The Berlin of that time also had an energy that was rather gloomy, and it seeped into my photography.

In the future, the cities I lived in would significantly influence my photography. Additionally, the work of photographer Chadwick Tyler, while not necessarily my favourite, certainly elicited a reaction from me with its raw, dark, and even terrifying images.

I was checking out some interviews with photographer Chadwick Tyler and he was describing his style. He said that he tends to focus on capturing the energy and presence of his subjects, rather than trying to create some kind of perfect or idealized image. Tyler also mentioned that he's really drawn to the idea of creating images that have a bit of a "timeless" quality to them, so that they don't feel too stuck in one particular moment or era. Overall, it seems like his approach is very much about tapping into his own intuition and creativity, rather than getting too bogged down in trying to follow any particular rules or techniques.

I arrived in Moscow in December 2009, just two months after meeting Lys in Amsterdam.

Thanks to my connections through SladkoeNapotom, I was able to find a room in a spacious apartment located near one of the most renowned streets in Moscow, Arbat.

My roommates were all artistic individuals, each with their unique and peculiar personalities. Our apartment became a hub of activity, with people constantly coming and going, and dinners and parties happening all the time. The guests were as varied as they were talented: photographers, painters, poets, models, journalists, filmmakers, stylists, musicians, and designers were among the visitors. I soaked it all in, enjoying the experience and learning a lot.

Our apartment became one of the hottest underground spots in Moscow.

I think that initially, it helped that I came to Moscow from Berlin in terms of making new connections. It sparked curiosity and opened some doors for me. But, ultimately, everything depends on you, and I could knock on doors that wouldn't have been possible had I not come to Moscow from Berlin.

One of the most significant things I learned from staying in this apartment was not just observing how artistic people live and interact but also transforming myself and adapting to some of their lifestyle patterns. I had only seen this life in movies, but now I became a part of it.

I realized that if you want to be a photographer, you need to immerse yourself in this artistic and bohemian lifestyle.

Living an artistic life as a photographer means that you're not just treating photography like a regular job but a way of expressing your creativity and passion. You're not only focused on getting paid but also on creating art that inspires and fulfills you. You're always seeking ways to improve and grow as an artist, instead of just doing the bare minimum. Prioritizing your artistic vision over commercial success or fame is also key. It's about committing to your craft and taking risks to achieve your goals.

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one of my roommates: Danial Polyakov

My girlfriend Lys was represented by Avant agency in Moscow, and she suggested that I meet with the agency and see if they liked my work, and maybe I could shoot some model tests for them. It was an opportunity to earn some money, as Avant paid for the tests, and they had two photographers that they worked with a lot at that time.

* A model test is like a photoshoot that models do to create a bunch of photos for their portfolio. They show off their looks, poses, and emotions to impress people like modeling agencies and photographers. These pictures can help the models get more modeling gigs and make a name for themselves in the fashion or entertainment industry.

I had nothing to lose, and Avant had a great selection of models, so I went to their office to meet with the owner, Yulia. I showed her my portfolio with images from Berlin, most of which were quite dark and artistic.

I had never shot any model tests before, and I didn't know much about their specific requirements. However, Yulia decided to give me a chance and organized a few shoots. Every week, new faces arrived from all over Russia, Ukraine and Belarus who needed to test.

I stayed true to my dark style, as it was all I knew at that moment. We did around 10 shoots with models from Avant, resulting in some crazy and weird images that were not typical of model tests.

To my surprise, Yulia liked most of the tests and paid me in cash.

After spending three exhausting months in Moscow, both physically and mentally, and running low on funds, I made the decision to return to Berlin. Upon my return, I decided to have some fun with my Moscow friends who were visiting Berlin for the first time. We stayed at the trendy Flowers Boarding House in Berlin Mitte, where I arranged to do a photo shoot with Helena, who I had previously worked with in Freiburg.

Helena came prepared with outfits and did her own makeup and hair for the shoot. As soon as we started shooting, I felt inspired by her presence, and we took many pictures, completely losing track of time and space.

The results of the shoot were very different from my previous photographs, and a new direction in my photography began to emerge. The images were strong, powerful, and cinematic, embodying the la femme fatale image of a woman. This breakthrough brought me new motivation and direction for my photography, and slowly but surely, my dark period began to dissipate, giving way to a new style.

After spending a few weeks in Berlin with no shootings and feeling lost, I became quite depressed. I had lost my connection with the city and felt sad, and I didn't want to go back to Moscow because it had been too tough and challenging for me.

Lys went to Paris to work for the fashion shows, and I got a crazy idea to surprise her in Paris. I had never been to Paris before, but a friend of mine from Berlin had flown there a day before and offered me a place to stay in her huge apartment at St. Paul, in case I wanted to come. It was such an insane coincidence.

Being in love and being together with my girlfriend in Paris in the beginning of spring was so romantic. I bought tickets to Paris.

Paris instantly stole my heart from the very first moment. I immediately fell in love with the city and knew that I would make it my home.

Lys showed me around, and I was impressed by the beauty of the city and its architecture. The streets, buildings, little cafes and restaurants, and of course, the people, made a profound impact on me. I fell in love with the city. I was stunned and paralyzed by its beauty and magic. I knew that this was the perfect place for me to live and capture through my photography.

I had a friend named Christopher who co-owned a well-known international mother model agency. When I was still in Germany, I called him up and told him about my plan to move to Paris and become a fashion photographer.

Since I had done a few photo shoots for his agency before, he already knew my work. He asked me two questions:

• What makes your style unique?
• Where do you see yourself in five or ten years?

To be honest, I had never really thought about it before. I was just living my life and taking pictures without really considering my goals or what I wanted to achieve as a fashion photographer. I had no written goals or strategy in place.

But Christopher's questions made me start thinking about these things for the first time.

I came to live in a dream city with the goal of becoming a fashion photographer. Paris was unbeatable as a fashion capital, and there weren't many other cities that could compare.

Paris is a hub for the fashion industry, and has been for over a century. It's home to some of the world's most iconic fashion houses, as well as numerous fashion events and exhibitions throughout the year.

Fashion Week, held twice a year in January and September, and the Paris Photo fair, which takes place in November and showcases some of the world's best photography.

It makes an ideal location for fashion photographers, who can take advantage of the city's beautiful architecture, streets, and parks as backdrops for their photoshoots.

Paris is also home to numerous fashion publications, including Vogue Paris & Numero Paris, which provides opportunities for photographers to get their work published and seen by a wider audience.

Additionally, there are many model agencies and models, hair stylists, makeup artists, and fashion designers based in Paris, making it easier for photographers to network and collaborate with best artists in the industry.

In May 2010, I took a train from my parents' home in Frankfurt to Paris, and once again, they were shocked and frustrated about my new adventure. After moving from Freiburg to Berlin, then suddenly deciding to go to Moscow three years later, and then coming back to Berlin for a month, now I had a new destination, Paris. My unpredictable and chaotic nature worried my parents, and they had many questions, but I couldn't give them any reasonable answers. I listened to my intuition that told me to go to Paris, and after some time, my parents accepted and supported me.

I packed two bags, one with my clothes and another with some light equipment, and arrived in Paris with little money, just enough for one month's rent. In 2010, there were no websites like booking.com or Airbnb to find a place to stay, so I had to go from one hotel to another to ask about prices and availability. Finally, after a few hours, I found a room in a shabby hotel.

The next steps were to have appointments with model agencies in Paris and look for a proper apartment.

I did some model tests in Moscow and got paid for them. Therefore, my initial plan was to make appointments at model agencies in Paris so that I could shoot paid tests for them.

I made a list of all the modeling agencies in Paris and sent them emails. The owner of Avant gave me direct contacts for some bookers at the agencies.

To my surprise, most of the agencies were interested in meeting with me.

My first appointment was at Elite Paris, one of the best and well-known agencies in the world. I was quite nervous before entering their huge office at Avenue Montaigne.

I didn't have a proper portfolio for my first meetings. Instead, I printed about a hundred photographs from my shoots in Moscow and Berlin, each in a postcard size (10x15cm).

They looked through all the images and asked some of their colleagues to join us. They were not sure what to do with me. Some of them told me I should continue with my artistic work and not do any testing. However, I needed money if I wanted to stay in Paris, and I didn't know how to earn money otherwise.

Most of the modeling agencies in Paris were paying 150 euros for tests, with the first test being free. If they were satisfied with the results, then they were ready to pay.

My first test for Elite Paris was with Linnea, who came from Sweden and had won the Elite Model Look competition that year. I was extremely excited but also very nervous because I didn't have a location for the shoot. I wasn't ready to shoot outside and didn't know the city well enough.

Through my contacts on Facebook, I met Katia Kameneva, a well-known painter and artist living in Paris. We met at her spacious apartment in Pigalle and I told her my story about coming to Paris with just two bags to become a fashion photographer. We talked for a few hours, and she generously gave me the keys to her apartment and said I could stay there for the next five days since she was leaving for the countryside with her family the next day.

My story reminded Katia of one of her close friends who had also come to Paris 20 years ago to pursue a career in photography, and she wanted to help me out. I was grateful to her for her kindness.

Miracles do happen! Now I had a location to shoot.

My photographs during Linnea's shoot still carried the influence of my dark period in Moscow and Berlin. They were very dark and even a little demonic. To assist with the styling, a friend of mine from Berlin, who had also recently moved to Paris, joined me for the shoot.

The final results were quite unusual for a model test at that time in Paris. They were different and shot more like an editorial, rather than a regular test. Despite this, the agency selected some of the photographs for Linnea's portfolio and even provided me with some recommendations for my next shoot.

This meant that the shoot had been accepted and the next one would be paid. It was a small but important win for me.

Over time, I became more experienced and gained a better understanding of the rules and expectations that agencies had for model tests. However, not all of my tests were accepted by the agencies, and some of them were even unpaid. I made sure to ask for feedback and learn from my mistakes so that I could improve.

To further develop my skills, I started to study the websites of the agencies, particularly their development departments, to see what kind of photographs they needed, what kind of lighting, styling, and poses they preferred for their models' portfolios. This changed my approach to my preparations and shootings.

I began to create mood boards for my upcoming tests and brought them with me to the shoots. I also went to vintage shops to buy clothes for the models since I couldn't afford to hire stylists to help me for free.

Mood boards became an essential part of my preparations for upcoming model tests.

In some cases, agencies would give me specific and individual references for each model. To meet their expectations, I would include them in my mood boards.

Most of the models were new faces and had little experience in posing in front of the camera. I also had limited experience in directing models, and some of them didn't speak English. So, we had to find a way to understand each other.

Mood boards and references became useful tools to communicate my ideas to the models and show them possible poses we could try. We both were testing and learning. I experimented a lot with lights, lenses, and angles. Each shooting took around 2-3 hours.

I had list for models what to bring for a model test

- high heels
- stockings / tights
- underwear (black), lingerie, bodies
- leather jackets
- coat
- skirts
- black jeans
- leather pants
- black dress
- designer clothes

+ cosmetic bag

To source new items for my tests, I often visited vintage stores. To save time organizing shoots with stylists and makeup artists, I didn't emphasize fashion too much in my photographs but rather focused on capturing the models' personalities and charisma. My skill in portrait photography resulted in many of the girls I photographed landing well-paid jobs.

I must emphasize that it took me some time to depart from my dark aesthetic style in photography. You can still see its influence on my initial tests in Paris.

However, gradually, I was able to shift my style and move towards a brighter direction.

At the same time, some of my darker tests were later published in print and online magazines as editorials.

It was pretty cool and a chance for me to get my stuff out there and seen by more people.
___

When a photographer's work gets published in magazines, it can have a lot of benefits.

For one, it can help the photographer get more exposure and gain a reputation in their industry. This exposure can lead to more jobs and collaborations with other artists or brands. Additionally, having their work published can be a source of pride and validation for the photographer, as it shows that their work is valued and appreciated by others. Lastly, being published in magazines can be an opportunity for the photographer to share their artistic vision and message with a wider audience, which can be really fulfilling.

During my first years in Paris, I continued to spend a lot of time in Minsk and Moscow, and I also continued to do some artistic and personal work. In contrast to the "simple" model tests, I used crazy styling and non-traditional makeup for my shoots.

In Moscow, I had the advantage of being from Paris, which allowed me to work with great teams. Prior to arriving in Moscow, I would email stylists to organize some shoots.

Model tests had a significant impact on the evolution of my photography.

As the money from model tests was my primary source of income, I had to shoot frequently and deliver high-quality results in order to earn a living. Initially, I was paid 150 euros for each test, which was barely enough to sustain an expensive life in Paris.

However, as time went on, I became more familiar with the requirements and expectations of the agencies, and I adapted my approach accordingly.

Typically, the agencies would select three to five photos from each test for use in their portfolios, with a focus on portraits and full-body shots that showcased the model's physique.

At that time in Paris, I was one of the few Russian-speaking photographers, and unlike many of my compatriots who followed in my footsteps, I was able to work with model agencies on an official basis and issue invoices for my services. As a German resident, I had all the necessary tax documents in order.

During almost every model test, I would experiment extensively with mixing and modifying lights, using strobes and natural light. To achieve unusual effects, I would use color filters for my lenses and play around with post-production and retouching the images.

I maintained close contact with the bookers at the agencies to ensure they were satisfied with the results and to inquire about what I could do to improve my photography. Some of the bookers became my friends and suggested stylists for me to work with or shared contacts of fashion magazines. I sent them previews from our shootings a few hours after the shoot was completed and was always prompt with the retouching and sending high-definition images so they could use them for the models' portfolios.

I also wanted to avoid getting predictable and stay out of my comfort zone. I was always pushing the boundaries to the maximum by incorporating new techniques and tricks into my photographs.

Gradually, my model tests became very strong and I developed a recognizable style. Agencies trusted me to work my magic on mostly new faces, but over time, I began to work with models from the mainboard who needed to restart their careers or update their portfolios with fresh and powerful photographs.

As time passed, my photography in Paris took on a more erotic and seductive tone. The Parisian aesthetic greatly influenced my work, particularly the Parisian porn-chic style popularized by French Vogue under Carine Roitfeld and Numero Paris. This style played a significant role in shaping the direction of fashion photography during this period.

As a result, the image of the "La Femme Fatale," a powerful and daring woman, became a common theme in my work, and continued to manifest itself in my photography over time.
__

And a short remark on eros in fashion.

Using erotic or sensual imagery has been a part of fashion photography for a long time. It can help set a certain mood, tell a story, or just present a designer's clothes in a more daring way. However, there's a fine line between tasteful and tacky, and using erotic photography can sometimes contribute to objectifying women and promoting unrealistic beauty standards.

But there's a growing trend in fashion photography towards celebrating women's sexuality and using eroticism as a way to empower women. Photographers like Ellen von Unwerth and Juergen Teller are known for their provocative and daring imagery that challenges conventional gender roles and stereotypes. Some fashion brands also use erotic imagery to promote a sense of freedom and empowerment for women.

However, with the rise of the #MeToo movement, there's been a renewed focus on ensuring models' comfort and safety on set, especially in shoots involving erotic imagery. Brands and publications have adopted new standards and policies to address these issues and create a more respectful and inclusive environment for all involved.

During my 5-year stay in Paris, I moved around a lot, changing over 20 apartments. I preferred short-term rentals in the city center over cheaper and larger places that were located further away. It was important to me to be able to step out of my home and immediately immerse myself in the Parisian lifestyle.

Regularly changing apartments gave me access to new locations for my photoshoots and prevented me from feeling stuck or bored shooting in the same interiors for years. I was also happy to shoot outside on the streets of Paris and work with natural daylight and its reflections.

Whenever I walked around Paris, I took note of locations that would be suitable for my next shoot. Paris has an abundance of great locations to offer, so I was always discovering something new.

In the early days of my career, I was hesitant to take nude photographs because I wasn't confident and wasn't satisfied with the results. However, my approach began to shift after shooting numerous model tests in Paris.

Notable photographers like Steven Meisel, Mario Sorrenti, Mario Testino, Ellen von Unwerth, and Helmut Newton incorporated nudity in their work, and many top fashion magazines fearlessly featured erotic photography that was breathtaking.

Semi-nude pictures in model portfolios were common and acceptable to agencies and clients, and the fashion industry was daring and open-minded in the past.

Over time, I began to incorporate semi-nude photographs into my model tests and learn by practicing. It took me years to learn how to artistically capture the beauty of the naked body. It's not as simple as it may appear. My aim was to maintain a certain level of aesthetics and avoid being pornographic or vulgar.

2013
32 rue Turbigo in Paris.

I've worked a lot with a model agency Oui Managment since their opening in Paris.
One day I got to shoot Lais Ribeiro for my personal work. A Victoria Secret Angel and the super star among top models. Wow. Lucky me! I was dreaming for it.

I was super excited and began with preparations. I got a stylist and a make-up and hair artist.

But I have to admit that on the set I became insecure and almost shaking ... Couldn't say a word and couldn't direct the process. It took me too much time to get control over the shoot. I put too much pressure on myself and couldn't handle it.

Results were very good in the end but not what I was expecting from this shooting and not really what the agency expected from me.

I overdid with preparations and was trying to make an editorial out of a personal work. It was a mistake and a good lesson for me.

Anyway I still love these pictures!

After three years, I was given a second chance to work with Lais Ribeiro. I had moved to New York City and started working with The Lions, and I was feeling more confident and knew what I wanted for this shoot.

Experience and time had helped me gain confidence, and I took my time to prepare for the shoot. We were shooting at my friend's spacious triplex in West Village, and I had a more professional team this time.

I was able to direct the entire process from the beginning and the resulting photographs were more powerful and seductive. Lais looked incredible, embodying the quintessential la femme fatale.

___

conclusion

If you're a photographer in the fashion and modeling biz, working with mainboard models can be a total game-changer for your career. These models are represented by top agencies and have tons of experience and versatility, making them super popular in the industry.

Shooting with mainboard models means I can add high-quality images to my portfolio that attract the big fish clients and boost my reputation in the biz. Plus, working with mainboard models opens up opportunities to network with other industry pros like makeup artists, hair stylists, and fashion designers.

The best part of working with mainboard models is the experience I get working with pros who are masters of posing, expression, and body movement. It helps me improve my skills and learn how to work with models more effectively in the future.

Long story short, shooting with mainboard models can establish you as a reputable and skilled pro in the industry, which means more gigs and more chances for career advancement.

I had the opportunity to shoot behind the scenes at a fashion show.

Fashion week is the highlight of the season when designers present their new collections, and it was a fascinating experience to be a part of these events.

This enchanting world of fashion inspired me greatly, and I felt happy and proud to be a part of it.

I was given a truly unique opportunity to witness the mysteries of the backstage firsthand and see just how everything comes together in such a beautiful and meaningful way. Watching the great artists and models collaborate to create a single, unforgettable event was a truly special experience.

It was almost like watching a theater production, with months of work put into just 10-15 minutes of a stunning catwalk show. It's amazing to see how much effort and detail goes into every aspect of the design and production process, and how everything comes together so seamlessly in the end.

In mid-October of 2011, I had my first photoshoot with Barbara. It was my second year living in Paris and I didn't have access to a studio or home, so I scouted for interesting and quiet locations in the city. The weather was warm enough to shoot outdoors, so I found the former La Samaritaine shopping center near the Louvre between Rue Rivoli and the La Seine river. Despite Rue Rivoli being a noisy artery, taking a few steps down the street led to a quiet area with only one empty café between two buildings of the former store. The street was long and industrial, and had a unique feeling that was rarely found in Paris. The large number of windows and glasses allowed for a unique shooting experience that would have been difficult to recreate artificially.

Barbara was from Denmark and had been living in Paris for some time. It turned out that we lived in the neighboring streets of Montparnasse and she rented a room from a Russian girl. Her appearance, manner of speaking, and accent in English was very French, reminiscent of French cinema of the 70s, even though she was Danish. For the shoot, Barbara brought a lot of items from her wardrobe that helped to create unique images that were very personal to her.

Barbara seemed to be the catalyst that sparked inspiration in me. The feeling of having everything within reach and creating something from the accumulated experience was exhilarating. It was difficult to explain, but it was like meeting your muse. We communicated with each other through gestures and our eyes, creating a powerful shoot without the need for words.

The first few shots were perfect, and after seeing the results, everything became clear. Time stopped or accelerated, and the units of time were the shutter clicks. It felt like we filmed for only a few moments, but it turned out to be a couple of hours. After the shoot, I was still intoxicated with emotions and immediately started selecting photos.

When I showed Barbara the photos a few days later, she was delighted. She felt like I had captured her essence, her inner world, her thoughts and hopes. It was a scary feeling for her, as she felt very exposed, but it was a great accomplishment for me as a photographer.

We decided to do the second shoot at the Montparnasse Cemetery, which was only a few minutes' walk from us. For this shoot, we only brought one dress and wanted to work on one look.

Before this, I had never dared to shoot in cemeteries and considered it unethical and unacceptable. But in Paris, many cemeteries are more like open-air museums. So, I gave in.

The shoot became more erotic, sensual, and playful. We showed more skin, more poses and angles, more direct eye contact with the camera, and slightly provocative looks, all while shooting in a cemetery. The shoot was not aggressive or sensationalistic, where the picture is just for the sake of it.

I would say, and this may sound strange, that to me, some of these shots are tenderness, love, warmth, and magic in one of her external forms that you visually capture. They were fragile yet powerful like a strong river that you cannot stop and that makes you realize your own weakness, but you don't get scared, on the contrary, you gain strength, looking at the moving waves of the river, and slowly entering it.

Again, during the shoot, we barely talked, just a few phrases and fragments. From the outside, it might have looked like we were in some kind of ritual dance or trance, focused and concentrated. All senses were heightened, but they were only directed towards each other. We didn't notice anything else around us. After the shoot, after you take the last shot and slowly realize, as if in a dream, that it's all over, you feel the fatigue that paralyzes you. And satisfaction.

Of course, when you have a muse in your life, all you want to do is spend time with them, to be together all the time. Yes, that's right. But there is one caveat. A muse is great, but when there are too many, it's not always good. Everything turns into poison that destroys both.

As neighbors, Barbara and I met several times, went for walks, talked, laughed, and lived in Paris together, so to speak. And we kept an eye on each other. I wanted to love and cherish my muse, to guarantee her constant presence in my life.

The moment of falling in love had already happened. It's not surprising. The photographer's state of falling in love with the model during the shoot is necessary to help reveal, see, and notice the model. After the shoot, this state usually disappears quite quickly. And so it goes every time.

Therefore, when we met outside the format of a shoot, we cautiously kept an eye on each other, trying to understand how we both could evoke such vibrations and emotions in each other. Because, of course, I can't say that I was Barbara's muse, but I was the person who could then see her through and give shape to my vision in which she could relive herself anew. In our photographs. That is, in her eyes, I possessed a kind of magic, a magic that she could not control.

The third photo shoot.

At that time, I was watching a lot of movies, including David Lynch's "Blue Velvet," which became the theme of our third and final photo shoot.

It wasn't surprising to me that we enjoyed the same films, music, and books. We were shaped by similar sources and tools, which wasn't unexpected in this context.

The year was coming to an end, and we both had to leave Paris soon, which was sad. But it was timely. There was a feeling of unfinished business in our relationship, a sense of disappointment that we couldn't build something between us outside of our photo shoots. And we felt powerless against the passage of time. Our third joint project became the necessary point that helped us both continue our paths. We drank the elixir given to us to the bottom.

The shoot was very artistic, very striking, and very emotional. The gazes, movements, and images were outside the reality of the world. It was a completely fictional world that we created for ourselves, one that only we could understand completely. It was permeated with a cry, a cry that preceded our impending parting.

Blue and red dominated the shoot. These two colors explained us. I was the blue color, and Barbara was the red color. The combination of the two, so strong, could not exist together. They collided and shattered into sharp fragments.

It was a farewell that lasted an eternity, with an infinite future ahead.

I used social media extensively to expand my professional network. I never hesitated to reach out to people I wanted to connect with, whether they were stylists, make-up artists, editors, models, or photographers.

When I was starting out in my career, I sent countless emails to magazines in the hopes of collaborating with them. Of course, only a fraction of those emails received a response, but it was better than nothing. Slowly but surely, I was able to build my network, which proved to be an essential tool for advancing my career.

Sharing my work allowed me to receive feedback from professionals and gain valuable insights into what steps to take and who to meet next. It's a great way to make progress in your career.

" Social intelligence.
Think of it as theater. Become mysterious & intriguing. Play with the public, give them something compelling and pleasurable to witness. Let them project their fantasies onto you. "

This quote has had a significant influence on me. I've started to become more playful and deliberate in managing my public relations and image. It's been a fun and imaginative process. As a photographer, it's important to be like a chameleon, able to adapt to one's surroundings and reflect them in one's work.

" Andy Warhol Is Art History's Greatest Myth-Maker. Biographer Blake Gopnik Reveals His True Persona. "

https://www.artnews.com/art-news/news/andy-warhol-blake-gopnik-biography-interview-1202684249/

While I was living in Paris, I spent a lot of time doing model tests for agencies prior to fashion weeks. This was to help models update their portfolios with fresh images. Some models reached out to me directly, especially those who didn't have agencies and wanted to set up appointments. I also received many requests from women who were looking for beautiful photographs, and some of them wanted a lasting memory of their trip to Paris.

I eventually started working for magazines, and my good relationships with model agencies helped me secure good models for my castings. Maintaining strong connections with bookers and agents is crucial in this industry. Over time, I also began photographing look-books and catalogs, which occasionally provided some good money to help pay my bills.

I continued shooting portraits with celebrities, not only to add to my portfolio and increase my worth but also because I was thrilled to have the opportunity to meet inspiring people.

Hi Jurij,
Thanks, for your e-mail.
We here at the magazine like your personal portraits under the selection woman.
The have a sensible and interesting touch.
If you are interested we would be happy to publish a selection of them on http://contributormagazine.com/
Or if you are abut to shoot new ones, publish them.

Thank you!
Antonia
___

To broaden my audience, I began by submitting my photographs to an online magazine as an online editorial. To my delight, more than 10 of my stories were published. This opened up great opportunities for me.

The editors liked my work so much that they proposed I shoot for their next printed issue - a big deal for me. I decided to feature five models in the shoot, and enlisted Stefania Miano, whom I had worked with before, to style the shoot. I contacted Elite Paris to provide me with a strong casting since I had no prior experience shooting with five models. It was important to direct all of them and create sophisticated images that were aesthetically pleasing.

However, there was no budget since the magazine was an independent one, so I had to cover all the expenses myself. We had tons of packages delivered to my studio with clothes and other items required for the shoot. Unfortunately, the whole process was a total mess, and I mismanaged the entire shoot, from logistics to time management, catering, and other crucial elements. By the end, I was completely exhausted and had no creative energy left to capture good shots.

As a result, the editors did not like the images I produced.
____

We are not a commercial magazine, we do not need to "see" full outfits, we want an amazing picture.
Sending over some of our favorites you have done for us before, maybe you did shoot like this as well during the day?
Again, I hope you understand what we mean, we really like your work and hope we can get there with this story as well.

As you know our theme is "try harder", doing thing your own way and never give up.
How would you feel abut giving the story another go, the way you really do your images?

I took the opportunity and organized another shooting with Tania.

Thanks for the pictures! Totally better, great work!
A lot of pictures ; ) I'm going to go throu them with our art director tonight.

___

This experience taught me a valuable lesson: the importance of communication with editors and clients. It's inevitable that some shoots won't go as planned, but it's crucial to stay calm and avoid turning it into a dramatic or tragic situation.

Instead, it's important to listen to each other and work together to find a solution that everyone is happy with.

FW was a Russian magazine, and during this time, there were numerous Russian publications looking to shoot in Paris. This was mainly due to the fact that Paris had some of the best showrooms with new collections, making it an ideal location for fashion shoots.

For this particular shoot, I was able to secure a cover shot and a 7-8 page story. However, the model arrived two hours late, and it took an additional three hours for hair, makeup, and fitting. By the time we were ready to shoot, it began to rain, and it was also getting dark.

Instead of panicking, I decided to stay focused and try to find quick solutions to execute my ideas. Despite the rain, we were able to capture some very nice and cinematic images, which I was happy with. This experience gave me more confidence and helped me become more experienced for future shoots.

Normally, it would be challenging to convince anyone to shoot in the rain, but we didn't have any other options. I took responsibility and was able to deliver great results. In the end, we all had a lot of fun shooting in the rain in the heart of the city.

When we did this fashion story, Maria Rudenko was the model we collaborated with. Maria and I were familiar with each other from my previous project, SladkoeNaPotom, and she was a fantastic model to work with.

But what really stood out to me was Maria's approach to the shoot. The theme was fashion from the 70s, which meant that the poses and postures had to match those of the models from that era. The day before the shoot, I visited Maria and found her standing in front of the mirror, studying 70s poses and trying to get into the mood. She was completely immersed in the process, and it went on for hours.

This experience taught me the value of working with artists who take their craft seriously and put their heart into it. Seeing Maria's dedication and commitment made me realize the potential of collaborating with people who approach their work in this way.

For a long time, I had been hoping to shoot for Interview Russia. I met with their team in Moscow and showed them my portfolio, but I don't think they were particularly interested in my work. Despite this, I persisted and continued to send them emails with new work and ideas for future shoots.

Finally, I received a request to shoot an advertorial for Calvin Klein for them in Paris. Since I am based in Paris, it was convenient for the magazine to book a local photographer instead of flying someone in. Additionally, I was represented by a photo agency that could handle all the necessary production tasks.

We were able to secure a large studio for the shoot at no cost, and my agency helped me to assemble a team. Thanks to my connections with the model agency Oui, I was able to book Emma Stern Nielsen for the shoot.

One day, I received a message from Asia, a model I had photographed a few weeks ago in Paris, sharing her appearance in a French magazine. To my surprise, it was a photo from our shoot. I was curious how the magazine got the photo without my permission, so I called the model agency to inquire about it. I wasn't angry, but I just wanted to clarify things.

The agency confirmed that they had given the image to the magazine without informing me. In the future, I asked them to let me know, as magazines are required to pay for usage. Additionally, it's important to know which photo your name will be credited to.

Despite the lack of communication, I was happy about the unexpected publication in Grazie France and even went to buy a copy of the magazine to add to my archives.

It's a beautiful cover for Marie Claire magazine. Probably one of my favorite commercial cover at the moment. Great portrait and the with the lay-out it looks very strong and juicy.

But this cover was never used for this issue...

Few weeks after the shooting magazine contacted me to tell that they have to use a different image for the cover. Why? They need to swap the dress on the cover. Dior instead of Chanel. And you can't do anything about it. It's all about advertisers and that the way magazine earn money.

I was upset a little bit. I wanted this cover to get published. It's a cool cover.
Model and her agency and all team wasn't happy at all. But it happens sometimes and you should keep on moving forward.

I had been eagerly waiting to shoot for Numero Russia ever since it was launched. As a huge fan of Numero Paris and its iconic aesthetic, I was convinced that my photography style would be a perfect match for the Russian version of the magazine.

However, it took over a year before I finally got the opportunity to shoot for them, and it was only for a one-page spread. Despite this, I took the chance as a stepping stone to potentially getting more work with them in the future.

We shot in a studio for two hours, solely to produce one image. It was necessary to have the fashion director verify the final image right then and there on set. Fashion magazines are all about fashion, so it's important that the clothes look great. To achieve this, every detail has to be perfect, including the pose, facial expression, and lighting.

While I can't say that this way of working for Numero was exactly what I had been dreaming of, I still gave it my all. I was hoping for more creative freedom and experimentation with different interpretations, but I understood the importance of selling the clothes in the end.

A few months later, I received another request from Numero Russia to shoot a lingerie story. I was thrilled about this opportunity to create compelling images that fit the aesthetics of Numero.

However, during the production, a few problems arose. The fashion director confirmed the model without consulting me first, which was frustrating. I believe it's crucial to get a model that inspires creativity for a big shoot like this.

Another issue was that the fashion director changed her mind about the concept for almost every image, despite confirming it days before the shoot. This caused a lot of confusion and made it difficult for me to shoot in my style and follow my vision.

At some point, I gave up and simply executed the constantly changing ideas of the editor. It was a frustrating experience, and I just wanted it to be over as quickly as possible.

I felt disappointed in myself and felt like I missed the chance to create a great story. I couldn't express my vision, and it felt like I was just pushing the button as a photographer.

In the end, the images turned out okay thanks to the art-director and editor who helped with post-production. However, this experience taught me the importance of standing up for my vision and style and improving my communication skills to translate my ideas into great images.

A few months after arriving in Paris, I had the pleasure of meeting Tanya Pinskaya. Tanya is a journalist who collaborates with several Russian magazines and always requires a photographer to take portraits for her interviews. Over the years, we've worked together on many interviews with a variety of prominent individuals, including Takada Kenzo, Christian Louboutin, Pierre Cardin, Jean-Paul Belmondo, and many others.

This was a fantastic opportunity for me, not only to photograph these exceptional individuals but also to meet them in person. Having celebrities in your portfolio is beneficial for pricing your work and expanding your network.

When I was based in Paris, I frequently received requests from Russian magazines. Since they didn't have to fly a photographer and I was familiar with both the city and the industry, it was convenient for them to hire me.

It was intriguing for me to photograph not only model tests but also actors and singers for magazines. Establishing a strong connection with a magazine had the potential to lead to a fashion editorial in the future, which was my primary goal.

I reached out to the press office of Damir Doma via email, suggesting the idea of taking some portraits of him. Coincidentally, his office was just a few blocks away from my studio and home. Damir and I had something in common, as we both spoke German, having immigrated to Germany during our childhood.

Damir visited my studio, and we captured some stunning portraits of him. These portraits were later featured on his website, newsletters, and magazine interviews. As a result of this successful shooting, the brand contacted me to photograph their upcoming collection.

I also DM'd David on Instagram and proposed the idea of taking his portraits. At the time, David was coming to present his collection during fashion week. Later, I visited his showroom and we met several times after that.

I often came to take behind-the-scenes photos of his shows and campaigns.

Brand Mugler appointed David as their creative director and they used one of our photographs to make a press announcement.

Shooting music bands was a fresh and exciting experience for me, as it required a different approach than what I was used to. It wasn't just about taking photos, but about capturing the mood and creating images that would perfectly match the vibe of the music. The challenge was to make the photographs attention-grabbing, and truly represent the essence of the band's music.

Working with Pierre Cardin was an amazing experience for me. He is one of the most iconic fashion designers of all time and has made a huge impact on the industry. I had the opportunity to shoot some photos of him in his incredible office located just in front of Élysée Palace.

There is one image in particular that I love, where Pierre Cardin is signing one of his books. It has a timeless quality to it and really captures the essence of who he is as a designer.

Ivan Dorn is one of the coolest guys we've had the pleasure of shooting with. We've worked with him multiple times, and every time he shows up with a fresh new look and style, which pushes us to come up with new and innovative ideas for our shots. He's a real talent and always up for experimenting to create something new and exciting.

I had the opportunity to shoot the iconic designer Takada Kenzo at his home in Paris. Let me tell you, his apartment was a masterpiece and looked like a museum. We had only 10 minutes for the shooting, but Takada posed like a pro. In the middle of the session, he started laughing as he saw his reflection in the mirror glass table. And you know what? That's my favourite shot from the whole shoot! Usually, he looks closed off and restrictive in his portraits, but in this one, he looks so carefree and happy.

I had a cool experience shooting with the music band Dolphin. It all started when I shot a girlfriend of one of the members, and I asked her to introduce me to the band. To my surprise, Dolphin agreed to shoot with me and we had several sessions together. As a kid, I was a big fan of Dolphin and would listen to his music non-stop, so it was a dream come true to take photos with him and get to know him better. This is definitely one of the perks of being a photographer!

Including photos with celebrities in a photographer's portfolio can be a big deal because it helps to catch the eye of potential clients and makes the photographer look legit. When people see a portfolio with celebs in it, it gives the impression that the photographer knows what they're doing and can handle high-profile clients.

Having celeb photos in your portfolio can also be helpful if you're trying to break into industries like fashion or entertainment that work with famous people a lot. It gives you an advantage to have experience working with celebs and photos to show for it.

But don't forget, clients don't just look at the celebs in your portfolio when they're deciding who to hire. They also care about your technical skills, creativity, professionalism, and how well you work with clients. So, having celebs in your portfolio is a plus, but it's not the only thing that matters.

A Russian magazine based in Saint-Petersburg called Sobaka approached me to shoot Karina for their next issue. I had worked with this magazine on several occasions previously.

Although I didn't know Karina before the shoot, I learned that she was a big name in the fashion industry, working for Conde Nast as an executive director for editorial development.

We shot some portraits at her beautiful apartment, which was just a few meters away from the Eiffel Tower. During the shoot, Karina shared some interesting stories with me about her experience launching Vogue Russia back in the 90s and working with top models like Gisele Bundchen and Natalia Vodianova.

A few months later, Karina approached me and asked if she could use some of our photographs for her upcoming book. I was thrilled to have my first book cover!

Natalia was in search of the perfect photographer for her new book that would showcase the beauty of the female body in a healthy and sporty lifestyle. After she found me, I flew from New York City to Paris to work with her for two days. We worked on the first day at her spacious home near Paris, and the next day, we took to the streets of Paris.

In total, we created around 12 images, and the shooting felt like a grand editorial with a team that consisted of a stylist, makeup artist, and hair artist. The production was well-organized, and our team was able to bring our ideas to life with ease. Working with Natalia was a fantastic experience; she fully trusted our team and allowed me to showcase my creativity.