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

During the 70s and 80s, it was common for people to have a deep interest in photography, including my grandfather, who, despite serving in the military, shared this passion.

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'm frequently asked this question, and to keep things interesting for myself, I enjoy coming up with new stories to share.

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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


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

When you recall your initial interest in photography, it can help reignite your passion and creativity for the art form. It's important to remember why you first became interested in photography, what drew you to it, and how it made you feel.

For me, recalling my initial interest in photography helps me reconnect with my passion and motivation for the craft. It reminds me of the joy and excitement I felt when I first picked up a camera and started taking photos.

Additionally, recalling your initial interest in photography can also help you identify your unique style and perspective as a photographer.

It can be easy to get lost in the technical aspects of photography and forget about the emotional and creative elements that drew you to it in the first place.

As someone interested in the arts, I believe that delving into the biography of an artist is crucial to comprehending their creative output and vision. Their personal experiences, upbringing, and background can all contribute to the context and motivations behind their art.

Exploring an artist's biography can be a source of inspiration and guidance for my own creative practice. By learning about the challenges and triumphs that they faced, I may be able to develop my own work or discover ways to overcome obstacles in my own artistic journey.

Additionally, understanding an artist's biography can help me connect with their work on a more personal level. I might find that I relate to certain aspects of their life story or that their experiences resonate with my own. This deeper understanding of the artist and their work can add richness to my own appreciation and enjoyment of their art.

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.

2020 manifesto
2019 fatal 3
2019 odyssey
2018 fatal 2
2018 odyssey
2018 solar
2017 maxim
2016 allure
2014 esh
2013 kyky
2012 sladkoenapotom

2022 paris - sexhibition
2022 paris - imagine
2021 milan - imagine
2020 kyiv - bursa
2019 moscow - fatal #3
2018 moscow - fatal #2
2018 moscow - fatal #1
2014 moscow - retrospective
2013 brest - retrospective
2012 minsk - retrospective
2011 minsk - retrospective

2015 moscow at central house of artists curator of elliott erwitt exhibition

At the beginning, art didn't play a significant role in my life. I had no plans to become a photographer, nor did I consider creativity as a source of income. My attention was focused on studying chemistry and mathematics in high school, first in Brest and then in a gymnasium after I moved to Germany. Later, I enrolled in the economics faculty, and for the first two years, I diligently pursued my studies at the university.

The first spark came in the gymnasium during an art lesson, where the topic was photography. Over the course of a few weeks, we learned the basics of photography, took pictures on film, and in the end, we had to present a collage made from our photographs.

I was captivated by the process of shooting on film, developing it in the school lab, and creating photo collages. Although the film processing was slow and labor-intensive, I remembered how my grandfather used to do the same when I was a very young child. However, the true magic of film photography didn't fully unfold for me at that time.

Nevertheless, I completed my project - a collage that brought together photographs depicting various states and manifestations of nature, highlighting the interconnectedness of everything in the natural world.

When I presented my work in class, my teacher was very impressed with the idea and its execution. This positive feedback gave me the motivation to continue taking photos and see what would come out of it.

One day, a friend of mine who knew about my growing interest in photography lent me a camera. I started capturing everything that seemed interesting to me - natural phenomena, landscapes, architecture, and occasionally portraits of my friends. My friend was also an amateur photographer, and we would often show each other the photos we took and discuss them.

Over time, I decided to share my photos online by posting them on photography websites. I started building my first portfolio.

During one of my vacations in Brest, I met a friend who worked at a modeling agency, and he suggested that I try my hand at shooting with models.

I had no experience working with models, and I still had a limited understanding of the technical aspects of photography, but I was curious and decided to give it a try. Of course, the idea of meeting beautiful girls also appealed to me.

During the first shoots, I took thousands of photos and carefully selected a few hundred that I truly liked. I was captivated by both the process and the results. It was a revelation for me to discover something that could ignite such a strong passion and energize me.

I showed my photos to friends and received my first feedback. Most of it was positive. This further fueled my love for photography. Every time I returned to Brest on vacation, I would organize new photo sessions with girls or models, and we would wander around the city, searching for interesting locations and enjoying the creative process.

These first photo sessions in Brest became a turning point in my budding photography career. They helped me develop my skills and learn more about my passion for photography, which allows me to tell stories through images.

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.

I highly recommend separating your favorite photos and reviewing them periodically to determine the direction of your development as a photographer. This is a technique that I have used throughout my career and have found it to be very helpful in identifying my strengths and weaknesses as a photographer.

By reviewing your favorite photos, you can gain a better understanding of what type of photography you are most passionate about and where your strengths lie. This can help you focus your efforts and develop a unique style that sets you apart from other photographers.

Additionally, reviewing your favorite photos can also help you identify areas where you may need to improve. Perhaps you notice that you tend to shoot certain types of subjects or in certain lighting conditions, but struggle with others. By recognizing these patterns, you can work to expand your skills and knowledge in those areas.

Periodically reviewing your favorite photos can also be a great source of motivation and inspiration. Looking back on your past work and seeing how far you have come can be a great confidence booster, and can inspire you to continue pushing yourself to improve and create even better photos in the future.

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 in Brest, 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.

From this encounter I understood that it's one of the key is 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 if even it could hurt.

The Art of Mentoring: Embracing the Great Generational Transition" by Darlene Zschech.

In this book, Zschech draws on her experience as a mentor and mentee in the music industry to provide insights on how to navigate the transition between generations. She discusses the importance of finding a mentor and being a mentor, as well as the challenges that arise in the mentoring relationship.

Zschech also emphasizes the need for authenticity and vulnerability in the mentoring relationship, and provides practical advice on how to establish and maintain a mentoring relationship in the arts.

While I was still studying economics at the university in Freiburg 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, 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 from Brest 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.

The movie Blow-Up, directed by Michelangelo Antonioni and released in 1966, had a significant impact on photography and popular culture.

The film tells the story of a London-based photographer named Thomas, played by David Hemmings, who inadvertently captures a murder on film while taking pictures in a park. The movie's portrayal of photography as an art form and its use of stylish imagery and cinematography made it an instant classic, and it inspired a generation of photographers and filmmakers.

One of the most significant impacts of Blow-Up on photography was its portrayal of the photographer as an artist who creates images with a unique vision and perspective. The movie also explored the idea of photography as a means of capturing and interpreting reality, a concept that resonated with many photographers at the time.

The film's use of color, lighting, and framing also had a lasting impact on photography. Antonioni's use of long takes, slow camera movements, and shallow focus created a sense of depth and texture in the film's imagery that was unlike anything that had been seen before. The movie's influence can be seen in the work of many photographers who came after it, including Cindy Sherman, Nan Goldin, and Annie Leibovitz.

Another impact of Blow-Up on photography was its role in popularizing fashion photography. The film's scenes featuring fashion models and glamorous settings helped to elevate fashion photography to an art form, and it helped to launch the careers of many fashion photographers.

Overall, Blow-Up was a groundbreaking film that had a significant impact on photography and popular culture. Its portrayal of the photographer as an artist and its use of stylish imagery and cinematography inspired a generation of photographers and filmmakers, and its impact can still be seen in the work of many artists today.

In 2007, I did my first photoshoot with a model named Helena. I found her profile on the model-kartei website and asked if she would be interested in a collaborative shoot. Helena was already an experienced model with an excellent portfolio.

A few days after I sent her a mood board with some ideas, she came to Freiburg. I was incredibly excited about the upcoming shoot. Helena's posing skills, ability to transform, and change moods inspired me throughout the five-hour session, although it felt like only five minutes had passed.

As I reviewed the photos we took during the shoot, I noticed something new and exciting emerging in my images - a new style, the first glimpses of "femme fatale" that I later discovered and developed over the years.

The photos showcased a woman who was strong, confident, and played with her sensuality in the frame. At that time, I didn't fully grasp the significance of this breakthrough, but today, looking back at these shots, I see how it became a pivotal moment in my career and the development of my own vision and style.

"The Creative Habit: Learn It and Use It for Life" by Twyla Tharp, a renowned choreographer and dancer. In the book, Tharp shares her insights and practices for cultivating creativity and developing a sustainable creative process. She emphasizes the importance of routine and discipline in the creative process, and provides practical exercises and strategies for overcoming creative blocks and developing new ideas. Tharp draws from her own experiences as a dancer and choreographer, as well as from interviews with artists and professionals from various creative fields, to offer a comprehensive guide to cultivating creativity. The book has become a popular resource for artists, writers, and creative professionals looking to improve their creative process and develop sustainable habits for continued success.

"Art and Fear: Observations on the Perils (and Rewards) of Artmaking" is a book written by David Bayles and Ted Orland. The book explores the challenges and fears that artists face in the creative process and offers insights and advice on how to overcome them. The authors draw from their own experiences and observations, as well as from interviews with artists from various disciplines, to explore topics such as the fear of failure, the role of criticism, and the creative process itself. The book has become a popular resource for artists and creative professionals, providing valuable insights and inspiration for anyone pursuing a career in the arts.

"The War of Art: Break Through the Blocks and Win Your Inner Creative Battles" by Steven Pressfield. In the book, Pressfield identifies the various forms of resistance that artists and creatives face in the pursuit of their craft, such as fear, self-doubt, and procrastination. He offers insights and practical strategies for overcoming these obstacles and tapping into one's creative potential. The book is written in a no-nonsense style, providing readers with actionable advice and encouraging them to take action to overcome creative blocks. The War of Art has become a popular resource for artists, writers, and creatives of all kinds, helping them to identify and overcome the obstacles that stand in the way of their creative success.

"Big Magic: Creative Living Beyond Fear" is a self-help book by Elizabeth Gilbert about overcoming fear and self-doubt in order to pursue creativity. Gilbert encourages readers to embrace curiosity, take risks, and be willing to make mistakes. The book includes personal anecdotes and practical advice on cultivating a creative practice and dealing with obstacles.

"The Artist's Way: A Spiritual Path to Higher Creativity" is a self-help book by Julia Cameron that offers a twelve-week program to help readers rediscover their creativity and overcome creative blocks. The program includes exercises such as journaling, artist dates, and creative play, and is designed to cultivate self-awareness and self-confidence. The book includes personal anecdotes and success stories from other creatives who have used the program.

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"The Practice: Shipping Creative Work" by Seth Godin
"The Art Spirit" by Robert Henri
"Steal Like an Artist: 10 Things Nobody Told You About Being Creative" by Austin Kleon
"Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career" by Heather Darcy Bhandari and Jonathan Melber
"The Art of Possibility: Transforming Professional and Personal Life" by Rosamund Stone Zander and Benjamin Zander.

I decided to drop my economics studies at university and pursue a career as a photographer instead.

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.

When I was checking out photography schools, I wanted to get a feel for what each one was all about. I looked at what courses they offered, who was teaching them, and what kind of degree or certification programs they had.

Checking out the courses was cool because it gave me an idea of what the school was good at - like maybe they specialized in taking portraits or shooting landscapes. And I was also interested in the teachers, 'cause I wanted to learn from someone who knew their stuff and could inspire me.

I ended up picking a program that focused on the kind of photography I wanted to do and gave me the skills I needed to get ahead. I also checked out the school's reputation and what kinds of opportunities their graduates had, 'cause I wanted to make sure I was making a good investment.

In the end, I found 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.

Choosing a photography school is an important step in developing your skills in photography. When selecting a school, it is recommended to study its curriculum, courses, instructors, and the outcomes of its graduates. Based on this information, you can make an informed choice that aligns with your goals and expectations.

If you are unsure where to start, it is recommended to seek reviews and recommendations from other students and photographers. You can also attend webinars or free lessons offered by the school to familiarize yourself with their teaching approach and understand what they can offer you.

It is important to remember that it is not necessary to attend a photography school to develop your skills in photography. Nowadays, many photographers self-study techniques and artistic aspects using online courses, YouTube tutorials, or books. It is crucial to continuously explore new methods and find ways to enhance your photography skills to achieve success in your pursuits.

Herb Ritts was an American fashion photographer known for his iconic black and white portraits of celebrities and models. His work was characterized by its simplicity and elegance, and he became one of the most sought-after photographers in the 1980s and 1990s. Ritts also directed numerous music videos and commercials, and his influence can still be seen in fashion and photography today.
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Do you think that if you had studied photography at school you would have had the same career? Do you think that the fact that you were somehow ingenuous in photography turned out to be an asset?

I'm glad I didn't go to school for photography. Other photographers I know, Helmut Newton and Bruce Weber didn't either. Even Steven Meisel didn't, really-he went to fashion school. For me, the most important thing I learned was just honing my eye. I think I had a good eye. I'd go down to the end of my street, to a garage that had a certain feeling about it, or a particular light; I'd take a picture of a friend who needed a head shot. That's how I learned, instead of having school assignments and learning camera techniques. I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element. That element is developing a style that's yours and experimenting with it in until you eventually discover what makes sense to you especially. And I think in schools, sometimes that's possible.

But I learned the technical aspects on my own. I shied away from strobes and lights at first. It's always more comforting to know that in any given corner of any room or any location you're on, you can make a photograph that you'll appreciate. What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace. Looking back on it, I think it was terrific that I could do that. So I'm glad I didn't go to school for that reason. I was tutoring myself, I suppose. Many people who excel are self-taught.

Source

Whenever I was out shooting in Berlin, I was always on the lookout for historic courtyards and streets with a bit of character, even if they're a little rundown. When I used to live in Rosenthaler Platz in the old East Berlin, that area had a special vibe that I really connected with.

Those kinds of spots give my photos this cool cinematic and dramatic quality that I find really captivating. Even when I look back at those old shoots now, I can't help but smile. Sure, the poses might not be perfect, but there's just something about them that I really love. It's always been a fun challenge for me to try and capture my own unique take on Berlin through my photography.