In 2010 I returned from Moscow to Berlin.

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 in the end.

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 called Eskimo. 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.

When I decided to move to Paris, I packed two bags - one with my clothes and the other with some light equipment. I didn't have much money, only enough to cover a month's rent. Back in 2010, there weren't any convenient websites like booking.com or Airbnb to help me find a place to stay. So, I had to wander from hotel to hotel, asking about prices and availability until I found a room in a shabby hotel. The conditions were terrible, but I was so excited about my move to Paris that I didn't pay much attention to it. All I needed was a place to crash.

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

Minsk quickly became my third home (after Berlin and Frankfurt) where I spent months and had many friends. One of my friends, Olga, came up with the idea of exhibiting my work at Gallery Y, one of the best contemporary art galleries in the city. To my surprise, she made some calls and arranged a one-day exhibition in May. All I had to do was print my photographs and bring them to Minsk. Olga and the gallery took care of everything else.

I selected about 20 images and edited a few art videos, then flew from Paris to Minsk to see the gallery. After that, I took a train to Minsk to print my work before returning to the gallery for the opening.

I was thrilled to have about 100 people attend the opening of my exhibition at Gallery Y in Minsk, including my friends and frequent visitors of the gallery. One person was particularly impressed and bought eight of my photographs on the spot, paying me in cash. He planned to use them to decorate one of his hair salons.

This was the first time my work had been sold, and it was an incredibly exciting experience for me. I was able to use the money to cover my travel expenses and printing fees, with some extra left over. It showed me the potential of exhibiting photography and left me eager to pursue more opportunities in the future.

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 stay and to shoot.

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 time to move away from my dark and gloomy style in photography. This aesthetic can still be seen in my early fashion shoots in Paris.

However, gradually I was able to develop my own style and progress towards a more fashion-oriented direction. It was a process of exploration and experimentation that led me to search for my uniqueness and reflect it in my work.

I became more open to new visual ideas, fashion trends, and techniques.

My transition towards a more fashion-oriented approach to photography opened up new opportunities to collaborate with fashion brands and publications. I had the chance to work with talented stylists, makeup artists, and models, which helped broaden my professional horizons and bring a fresh perspective to my work.

Over time, I realized the importance of evolving and adapting with the fashion and photography industry. While I still maintain my uniqueness and authorial approach, I am also open to new ideas and inspiration.

This ongoing process of growth and refinement is an integral part of my photographic practice.

During my first years in Paris, I spent a lot of time in Minsk and Moscow, working on both artistic and personal projects. For my shoots, I moved away from traditional model tests and opted for crazy styling and non-traditional makeup, which added an exciting element to my work.

In Moscow, I had the advantage of being from Paris, which allowed me to work with some amazing teams. Prior to my arrival in Moscow, I would email stylists to organize shoots and ensure everything was in place.

After production and editing were also important aspects of my work, where I would experiment with new tools in photoshop to make my photographs look even more stunning.

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.

Jurij Treskow: "The main thing is to analyze what you are doing" Gothic romanticism of Jurij Treskow.
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A modern photographer is a skilled master whose works reflect the achievements of the past years and the unique life experience of the author. He is smart, thoughtful, and open to everything new. Jurij Treskow is a young and promising European photographer with Belarusian roots. He draws inspiration from everything: personal experiences, books read, music heard, soul-touching paintings, life situations. In his work, all the little things in life are important.
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On the day of the interview, there was terrible heat, and it seemed that there was no mood for heart-to-heart conversations. When I entered the cafe, Jurij was sitting in the company of friends from Minsk, chatting with them casually and easily. But when I arrived, it became apparent that the talented and successful European photographer became noticeably nervous. We sat for about fifteen minutes without the recorder on, talking about the weather and other things. Only after that did the conversation begin:

In the field of art, there is always debate: do you need academic education or not? Do you have a professional photography education or are you self-taught?

I am self-taught. Any education can be both useful and harmful. So it all depends on the person. Technical skills are indeed better confirmed during education, but the vision of the frame depends on a person's personal experience, how they see the world. This can only be learned independently by delving deep into yourself. I would advise beginners in photography to first try themselves: pick up a camera and take some pictures. Try to analyze your work independently, and then you can try to learn from others. However, if the learning process is not easy, don't give up on what you've started. Believe in yourself and strictly evaluate your results. The main thing is to analyze what you are doing, self-analysis.

You shoot a lot in fashion style, is fashion photography an art form?

To be honest, I have not yet decided for myself whether photography as a whole is an art form. Nowadays, it is challenging to understand what contemporary art is and in what context to perceive it. There is too much information. For example, you can take the classic canon of art perception: if an artist's works were published, exhibited in galleries, no one doubted that it was art. Photography, unlike painting, is a relatively new form of creativity. And, as in anything new, people have doubts, and there are many opinions. It turns out that perception is entirely individual. If you consider photography an art form, great. If not, then it's not. Personally, it doesn't matter to me whether everyone recognizes photography as art. In each specific case, this dilemma is solved by both the viewer and the author. After all, the author can call his works art, and no one dares to forbid him to think so. There is also a situation when the viewer considers the author's works art, but he thinks that he just does something well and does not even aspire to art. Although, if you combine all these options, perhaps that is the true art itself.

You lived in Berlin and recently moved to Paris. I think you can analyze the state of photography in Belarus and in Europe.

I am not very familiar with Belarusian photography. But, of course, the Belarusian level cannot be compared with the French or German one. After all, in Europe, it is already a serious industry. An industry indeed. And here, it seems to me, something is just beginning to emerge... then it degenerates, not yet having time to develop, then it emerges again. However, there is a certain charm to this too, because the Belarusian market is only just forming. And that means that people who are now engaged in photography can influence it, taking and using what has been achieved in Europe for decades, and adapting it to the Belarusian market, bringing in their own flavor. This is a huge responsibility! And a lot depends on these people. It is important where they direct their efforts... Although, wherever they direct it, it may well happen that other guys will come and fundamentally redirect it. At present, there is nothing permanent.

You say that in Europe, photography is part of the industry. Does this commercial focus hinder the development of the artistic potential of photography?

It depends on the direction of photography. For example, fashion photography benefits from it because there are many print publications where large brands buy entire spreads. It is these brands that develop the fashion industry. At the same time, there is mutual development between brands and publications; they stimulate each other, as well as the professionals involved in this process: journalists, photographers, models, designers, stylists, etc. Therefore, no one stops at what has been achieved. Thus, they support each other.

As for art photography, this line of photography develops independently. Its fundamental difference is that many people engaged in art in the West are initially wealthy people who do not "worry" about making money. They rarely sell their works. And this is a significant difference from Belarusian guys. It's hard to answer whether this is good or not; I recently tried to answer this question for myself. When a person has limitations, they start trying to wriggle out, looking for some non-standard solution to problems. But at the same time, I believe that an artist should be well-fed. They should not constantly think 70% about how to eat, how to earn extra money to pay for housing, and 30% about art. For example, Richard Avedon said that sometimes he shoots what he doesn't like at all, but he gets big money for it. But over time, we only know his best works.

How do you think, is professional equipment important in photography?

There are two opinions on this matter. And, in my opinion, both are correct. The first one: "a real artist can shoot even with a matchbox, while another person, even with the most expensive camera, still won't be able to make a worthwhile shot." But on the other hand, it is desirable for someone who is professionally engaged in photography to have the opportunity to use the cameras they need for the convenience of creating a shot. Because different cameras produce different images. In the context of an exhibition, for example, it is important for the photographs to be printed. And this requires a certain quality. So even this affects the choice of the camera. Good and expensive photo equipment is a great support in work. The main thing is that it does not get in the way but only helps to achieve the result. Do not refuse convenience. Harmony in work with both people and technology is important.

In Minsk, you can very often see young people who walk around with cameras, take mediocre shots, and call themselves photographers. Is there such a massive wave of photography obsession in Europe?

In Europe, there are even more people carrying cameras. This is due to the fact that financial opportunities there are much higher. However, Europeans, when introducing themselves to each other, do not talk about their profession. And if they do touch on this topic, they only choose one direction of their activity. Not like in Belarus: "I am a photographer, and also a bit of a DJ and also studying somewhere." But there is nothing wrong with people taking photos and calling themselves photographers. Because everything in life is very vague and confusing. The main thing is to take good photos. After all, who are the judges? Moreover, many started this way: they carried a camera with them, intuitively clicked the shutter. Something worked out, more often it did not, but this is not "robbing banks."

It seems to me that to some extent, an excessive number of photos "clutters" the vision and taste of an ordinary person.

Nothing can be done, this is the situation now. I can only say one thing: everyone pursues their goal. If a person just wants to "hang out" and "show off," then they will "hang out" a little. But then, not having achieved serious results, they will move on to something else. And maybe they will achieve results just because the viewer suddenly unanimously decides: "this is cool." After all, this is also possible.

With which publications and brands do you collaborate?

I have collaborated with magazines such as "Sleek," "I Want," "Вся Европа," "Сhew magazine," "Сlam," "Doberman," "Achtung," "Deutsch." Moreover, there is a trend of print publications transitioning to the Internet. In this regard, I managed to collaborate with the online publication vogue.com. At the moment, a new magazine is launching in Moscow. My photos will be there too, but it's still a small secret. As for brands, they include Patrick Hellmann, Kilian Kerner, Ansoho, Tiger of Sweden, Kavier Gauche, Sisi Wasabi, Lala Berlin, and Rob Ert.

Tell us about the circumstances under which you received your first serious shoot order for a magazine.

My first serious job was offered by the magazine "Вся Европа" (All Europe). It's a glossy publication aimed at Russian emigrants and distributed in Western Europe. I met the editorial staff, became friends with them, and had the opportunity to become an assistant on one of their photoshoots. However, during the shooting process, the clients realized that things were not going as they would have liked. A lucky break occurred: mainly my photos ended up being printed. After this shoot, I received an order from Patrick Hellmann, a friend of the "All Europe" publishers. He is to Germany what Ralph Lauren is to America. That was the first important step that contributed to my professional growth and trust among clients. After that, I took a risk and dropped out of university, where I was studying economics, to fully devote myself to photography. However, I still believe that any higher education stimulates the brain, which also affects creative activity.

Some photographers lean more towards black and white photography, while others prefer color. What are your preferences?

About ninety percent of the time, I shoot in black and white. At this stage of my creative journey, this aesthetic is closer to me. I always tell clients that after the shoot, they can see both black and white and color versions of each shot. In the end, the client chooses the option that suits them best. As a rule, the choice still falls on black and white photography.

When clients come to you, do they already have ready-made plots for the shoot?

Everything is individual, and preliminary discussions of the shoot differ significantly from the actual shoot. You can discuss anything, but when the day of the shoot comes, much of the planned material will ultimately not be used. And that's not a bad thing. For me, personally, the shooting process is always completely spontaneous. But sometimes, a client comes with specific ideas, and you act as a screw that needs to be tightened for the mechanism to work. However, this doesn't mean you work automatically. Sometimes the clients' ideas are interesting, but more often, they are not.

When you do creative projects not related to commerce, do you create an image, construct frames, and plan the entire shoot in advance?

It varies. For example, I am currently working on the "Demons" project. Of course, it's better to see them. It is difficult for me to formulate and describe everything in words. Even for myself, let alone for others. Photography is not a story that needs to be told. It needs to be seen. When I mentally prepare these stories, I have some visions. They are rather vague and related to how these stories can be realized through the language of photography. To make the images in my head more vivid, I try to direct the course of my thoughts using music and various media resources. And then all this together creates a cohesive product during the shoot itself. However, the shooting process is still largely spontaneous.

Tell us about the feelings you experience during a shoot.

Let me think... The feelings are always completely contradictory. From the feeling when you feel like you are on cloud nine with happiness: you catch the moment and feel that this is the very photo, for which, perhaps, the shoot was done or even why you are involved in photography in general. But this happiness lasts only a fraction of a second. It is a frame that can fuel you for a long time. On the other hand, very often, something doesn't work out, something doesn't come together, and you doubt whether you are doing the right thing. At such moments, you want to quit, and doubts arise. But doubting is good.

Do those frames that bring you to a state of euphoria during the shoot and processing evoke the same emotions in you afterward?

The most vivid and deep feelings are during the shoot. You don't yet know how everything will look in the end, but you have this intuitive feeling that everything is coming together: the right contact with the model occurs, creating a spark. When processing photos, you are also incredibly happy. But this is a secondary feeling. It also nourishes you, gives energy, but the brightest is during the shooting process.

Is it easy to achieve this spark from the model, which you are talking about?

There is an opinion that any girl can be photographed beautifully and achieve that spark from her. But not everything depends only on me because I am working with a person, not an object. Human relationships are taking place. So I try to meet with the model in advance. I talk to her for about fifteen minutes on unrelated topics to somehow feel whether I can achieve the desired result during the shoot or not. But this is also not an indicator, although it is a good tactic. The shooting process is not just about flashes and shutter clicks; it's about communication between the photographer and the model, and some relationships are formed. Usually, those very coveted frames are obtained just towards the end of the shoot. They appear precisely when you start trusting each other more.

Do you feel comfortable shooting when you are on the set one-on-one with the model, or does the presence of other people not matter to you?

It depends on the project. In commercial photography, the client is always present during the shoot. The same goes for fashion shoots in general. It's not about photographing the model but presenting the clothes. People need to understand and realize this. Thanks to fashion photography, people should want to buy the clothes. In this case, professionals such as stylists and makeup artists need to be on set. So, it's essential to find assistants who understand their duties well: making sure the clothes fit the model perfectly, the hairstyle remains impeccable throughout the shoot, and the makeup doesn't smudge. These professionals notice things I may not when I'm busy with the lighting, the model's image, composition, etc. But for my creative projects, I prefer to work alone with the model. Of course, it's better to work in such conditions, as strangers can be distracting.

Is it easier for you to work with a professional model, or does their level of preparation not matter?

Let me put it this way: professional models are experts in their field, and they can help you take excellent photos very quickly. However, they may lack the spark that amateur models have, and they may rely on overused poses, facial expressions, and so on. When a girl comes to the shoot for the first time, there's a chance to capture something unique. However, that's often not the case because they're usually shy and reserved. Professional models can quickly immerse themselves in the shooting process and get into the right emotional state, so there's usually more work with beginner models. But sometimes a girl is naturally talented, and it shows right away: her gaze and poses are exciting and original. That's the charm of it: you never know what the final result will be.

Has there been a situation where a client was not satisfied with your work?

Yes, you need to be prepared for that. In such situations, I initially get very upset because I take my work seriously and ideally want all parties to be satisfied. The best way to address the problem is to discuss it with the client, not to close off and say, "you didn't understand me." If that doesn't work, draw conclusions and try to avoid this next time. It's a lesson. Not a mistake, but experience! And it's a creative process. No one is immune. Reasonable clients are usually prepared for anything.

Are you as nervous before shoots as you were before today's interview?

Every time. No matter how well-prepared everything is, I still get nervous. And that's good because I feel that if I start shooting without being nervous, something is already wrong. When you're nervous, you doubt whether you'll take good photos. It pushes you forward. Though it does consume a lot of energy.

Do you think a photographer needs intellect and knowledge in other forms of art, or does it get in the way?

For a photographer, life experience is essential. But they should also be a well-rounded individual. By being interested in other forms of art, you bring in your unique qualities as a master. It enriches and harmonizes your work. Moreover, you interact with other people, and to win them over, you also need to possess intellect.

Who do you photograph more often, girls or boys?

Mostly girls. Boys – very rarely. That's just how it turned out. Since my portfolio has more photos of girls, people mostly ask me to photograph girls. And female models are more suitable for this business. A male model is still a strange phenomenon for me, with very few exceptions.

Who is your ideal photographer?

Rather than ideals, there are people who inspire admiration and respect in me. These include Helmut Newton and Richard Avedon, mainly from the old school. I'm more interested not in what they did but how they got there – more interested in their biographies and individual interviews. For me, as a photographer, this is a kind of school. I try to understand why they got into this business, how they got there, and what they did for it. Often, this is very helpful during work. They are, in some sense, philosophers. Very interesting people.

Tell us about the woman you photograph, the one you try to capture and express in your works?

I think this woman is, deep down, a single entity. She might exist somewhere. And somehow, I try to capture her using photography. Perhaps some features of one woman are caught, but I don't know who this woman is yet. At this stage of my development, this woman is both strong and weak, delicate and coarse – she is all-encompassing. I have photographed many girls, and now it's hard for me to specifically express the features of this one girl. But I try to photograph any model in a way that makes them appear beautiful to me. Lately, I have been shooting more "Demons." In this project, the girls are not classically beautiful and look quite gloomy. Before that, I mostly photographed classically beautiful girls. Some changes are happening within me, but I don't know how to express them in words yet. I answered somewhat vaguely…

Interview by Olga Mzhelskaya
2014

Over time, my photography in Paris evolved to become more erotic and seductive, heavily influenced by the Parisian aesthetic, especially the popular "porn-chic" style pioneered by Carine Roitfeld at French Vogue and Numero Paris. This trend significantly impacted the direction of fashion photography during that period.

The controversial style incorporates traditional pornographic imagery into high-fashion photography, featuring sheer fabrics, lingerie-inspired clothing, and provocative poses and expressions. While some criticize Roitfeld for glamorizing and normalizing pornography, others praise her for pushing the boundaries of traditional fashion photography and challenging societal norms around sexuality and femininity.

Consequently, the powerful and daring "La Femme Fatale" became a common theme in my work, and this style continued to manifest in my photography.

During my five years in Paris, I moved from one apartment to another, changing residence more than 20 times. Preferring short-term rentals in the city center, I sought the opportunity to immerse myself in the Parisian life. It was important for me that the environment reflected the inspiring and motivating atmosphere of the city, fueling my creative exploration.

Frequent changes of apartments allowed me to discover new locations for photoshoots and prevented the sense of stagnation or fatigue from shooting in the same interiors for many years. I enjoyed photographing on the streets of Paris, experimenting with natural light and its reflections to capture unique and inspiring shots.

Every time I strolled through Paris, I made notes of places that could be suitable for future shoots. With so many stunning locations in the city, there was always something new and interesting to discover. Paris served as an endless source of inspiration, enabling me to push the boundaries of my creativity and explore new possibilities in photography.

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 worked with the modeling agency Oui Managment for a long time since their opening in Paris. I conducted photo shoots with aspiring models and gradually progressed to working with models from the main roster.

One day, I had the opportunity to do a photo shoot with one of the most famous top models of that time - Lais Ribeiro, a Victoria's Secret Angel. Initially, the agency wanted me to shoot Lais in my usual and recognizable style of model tests that I usually did. But I felt that it would not be enough, so I decided to assemble a team for the shoot.

However, I must admit that at the beginning of the shoot, I felt very insecure due to nervousness. It was difficult for me to get into the rhythm, pose, and just be myself. It was my first time working with such a renowned model. I was rushing, losing focus, and getting nervous. I had placed too much responsibility on myself for the outcome, and I struggled to cope with it.

The prepared wardrobe seemed excessive and too complex for a model test. The makeup also turned out to be too intense. The agency expected different results, even though they eventually selected a few shots from our shoot for her portfolio, but still, I didn't meet their overall expectations. I went overboard with the preparation and tried to make the shoot look like an editorial, even though it wasn't entirely appropriate. It was more of a mistake.

I can't say that the shoot was a complete failure, but it was important for me to learn from this experience for the future.

After three years, I managed to work with Lais again. I had moved to NYC and started working with The Lions, the agency that represented her in America. This time, I felt much more confident and knew what I wanted from this shoot.

We shot in a spacious designer triplex apartment belonging to my friend in East Village. It was a cool location for the shoot. I assembled a professional team, and this time the outfits and makeup worked better.

It was easier for me to pose Lais and set the rythm of the shoot. I must give credit, working with Lais was a pleasure. She is a super professional who interprets ideas amazingly and fully engages in the process. The photos turned out great, with Lais embodying the ideal of la femme fatale.

Several times I had the opportunity to shoot backstage during fashion shows.

Fashion week is the most exciting moment in the fashion industry, when designers present their new collections. Participating in these events became a thrilling experience for me. I felt like a true witness to this fashion celebration.

I was given a unique opportunity to see how everything unfolds behind the scenes and understand how all the elements come together in such a magnificent and significant spectacle. Observing the collaboration between great designers, their teams, and models to create an unforgettable show was fascinating.

It was akin to watching a theatrical performance, where months of work are dedicated to creating an amazing show, even though the show itself on the runway lasts only 10-15 minutes. It's incredible to see the amount of effort and attention given to every aspect of the design and production process, and how everything ultimately harmoniously merges together.

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.

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.

The muse in photography is an integral part of the creative process and serves as a source of inspiration for the photographer. They not only influence the creation of unique ideas and concepts but also have a significant impact on the style and aesthetics of the photography.

A muse can be a model whose physical attractiveness, expressiveness, and ability to convey emotions captivate the photographer's attention. However, a muse is not limited to professional models. Sometimes a close person, such as a friend, partner, or family member, can become the photographer's muse. In such cases, the emotional connection and mutual understanding between the photographer and the muse play a crucial role in the creation of art.

The relationship between the photographer and their muse can be filled with emotions and intimacy. Mutual trust and understanding enable the photographer to see the unique qualities and characteristics of the muse, which they strive to capture through their photographs. This creates an atmosphere of collaboration where the muse becomes an important collaborator and subject of the photography.

The muse influences various aspects of photography. They can inspire the photographer in choosing specific themes or concepts for a photoshoot. Their unique features, clothing style, facial expressions, and poses can influence the composition and visual presentation of the images. The muse has the ability to evoke a certain mood or emotion that the photographer aims to capture in their works.

Another aspect worth mentioning is the emotional connection between the photographer and their muse. Often, the muse can be a source of inspiration and support for the photographer, helping them overcome creative blocks and find new ideas. They can stimulate the photographer to experiment with techniques, lighting, and composition, expanding their artistic repertoire.

The relationship between the photographer and their muse can be very close and intimate. The photographer often strives to capture and convey the muse's unique qualities and individuality through the camera lens. This may involve vulnerable and private moments that can be significant for both participants in the process. As a result of such emotional and profound connections, the photograph can become a powerful and impactful work of art that captures not only external beauty but also the inner world of the muse.

Finally, it is worth noting that muses in photography not only inspire the photographer but also influence the viewers. Photographs created with the help of a muse can evoke strong emotions, stimulate imagination, and encourage reflection. They can serve as a means of communication, conveying stories and messages, or simply provide aesthetic pleasure for perception.

In conclusion, the theme of muses in photography encompasses not only the interaction between the photographer and their muse but also their mutual influence on creativity and art. It reveals the emotional and aesthetic significance of muses and highlights the uniqueness and diversity of photographic art.

Edie Sedgwick, who was a model, actress, and muse to Andy Warhol.
Jean Shrimpton, who was a fashion model and muse to photographer David Bailey.
Patti Smith, who was a musician, writer, and muse to photographer Robert Mapplethorpe.
Kate Moss, who has been a muse to many fashion photographers, including Mario Testino and Corinne Day.
Lee Miller, who was a model, photographer, and muse to Man Ray.
Twiggy - a fashion icon in the 1960s and muse to fashion designer Mary Quant.
Naomi Campbell - known for her work with fashion photographer Steven Meisel, who has referred to her as his muse.
Gisele Bundchen - muse to many fashion photographers, including Mario Testino and Juergen Teller.
Claudia Schiffer - considered a muse to fashion photographer Ellen von Unwerth.
Lara Stone - muse to fashion designer Riccardo Tisci and photographer Steven Klein.
Daria Werbowy - muse to fashion designer Phoebe Philo and photographer Steven Meisel.
Edie Campbell - muse to fashion designer Marc Jacobs and photographer Tim Walker.
Natalia Vodianova - muse to fashion photographer Mario Testino and designer Diane von Furstenberg.
Karlie Kloss - muse to fashion designer Jason Wu and photographer Steven Meisel.

I actively used social media to expand my professional network, and it played a significant role in my career. I wasn't hesitant to connect and meet new people in the fashion industry, whether they were stylists, makeup artists, editors, models, or photographers. These contacts became a source of inspiration, idea exchange, and collaboration opportunities.

When I was starting my professional journey, I actively sent out countless emails to various magazines, hoping for collaborations. While not all of my emails received responses, each response was valuable. I understood that it was my chance to grab attention and establish initial connections. Those emails became my way of showcasing my work and sharing ideas.

Over time, I slowly but steadily built new connections and expanded my circle of contacts. I participated in art events, photoshoots, fashion shows, and other industry-related gatherings, where I met like-minded individuals with similar interests and goals. It was important not only to make acquaintances but also to maintain those connections through social media and personal interactions. I learned from the experiences of other professionals and shared my own work results. The feedback and valuable ideas I received helped me determine the next steps in my career and identify whom I wanted to meet and collaborate with in the future.

Receiving feedback and advice from experienced professionals was invaluable. They shared their knowledge, helped me develop, and grow in the fashion industry. It was an excellent way to progress in my career and expand my professional horizons.

These connections not only helped me gain new opportunities and contacts but also inspired, supported, and guided me in my professional growth. They opened doors for collaborations, projects, and joint work with other talented professionals in the fashion industry.

My initial time in Paris, when I was involved in model testing, was an exciting period in my career. Gradually, as I strengthened my connections with modeling agencies, new opportunities opened up, such as working with magazines and shooting for lookbooks and catalogs.

However, my creative drive was not limited to just models and agencies. I also thoroughly enjoyed photographing celebrities. Meeting them was not only a chance to enhance my portfolio but also a wonderful opportunity to encounter inspiring individuals who contributed to the world of fashion and art.

My connections and relationships in the fashion industry played a significant role in my career growth. They not only helped me achieve success but also opened up new possibilities and horizons. It was crucial not only to build a professional network but also to establish genuine and mutually beneficial relationships with people who shared my passion for fashion and photography.

In the end, these connections and relationships in the fashion industry became the foundation of my growth and success. I found support, inspiration, and collaboration opportunities that propelled me forward. These connections proved to be more than mere contacts; they were valuable partnerships and friendships that allowed me to fulfill my passion and creative potential.

THE CONTRIBUTOR

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 expand my audience, I decided to submit my photos to an online editorial magazine. To my great joy, more than 10 stories were published, giving me a tremendous boost in my career.

The editors were impressed with my work and offered me a shoot for their upcoming print issue, which was a significant milestone for me. I decided to photograph five models and enlisted the help of Stefania Miano, whom I had previously worked with, for the styling. Since I had no experience shooting with multiple models, I reached out to Elite Paris agency to find suitable models. It was important for me to create poses and complex compositions that were aesthetically appealing.

However, the magazine had no budget, so I had to cover all the expenses myself. We received numerous packages with clothing and other necessary items for the shoot. Unfortunately, the entire process turned into chaos, and I mismanaged the planning, from logistics and time management on the shoot to providing meals and other crucial details. In the end, I was completely drained and lacked the energy to create high-quality shots. I burned out.

As a result, the images I captured did not meet the editors' expectations. It was a valuable lesson for me, and I realized that it's not only about having talent and passion for photography, but also about effectively organizing the shooting process and being prepared for any challenges to achieve the desired outcome. This experience prompted me to reevaluate my working methods and strive for professional growth in all aspects of photography.
____

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 made me realize how important it is to effectively communicate with editors and clients. Regardless of our plans, sometimes shoots don't go as we envisioned. However, it's crucial to remain calm and avoid panic.

Instead of dwelling in disappointment or placing blame, I learned to value an open approach to communication. Situations where things don't go as planned can become opportunities for creative growth and development. It's important to listen to the opinions and suggestions of editors and clients, as well as express our own ideas and proposals.

Working together as a team and seeking compromises helps find a solution that satisfies all project stakeholders. This requires flexibility, patience, and the ability to listen and understand others' perspectives. Exchanging ideas and being open to feedback fosters collaboration based on trust and mutual respect.

Furthermore, I realized that open communication is also crucial for managing expectations. Clear and transparent discussions with editors and clients help establish a shared understanding of project goals, stylistic preferences, deadlines, and budget. This helps prevent misunderstandings and conflicts during the workflow.

Ultimately, understanding the importance of communication in the fashion industry enables us to collaborate effectively, exchange ideas, solve problems, and create high-quality photographs. The ability to listen, articulate our thoughts, and find common ground with colleagues and clients becomes a valuable skill that helps us grow professionally and achieve success in our careers.

FW was a Russian magazine, and during that time, there were many Russian publications striving to shoot in Paris. This was mainly because Paris housed the best showrooms with new collections, making it an ideal location for photoshoots. Additionally, the city itself was incredibly beautiful, offering numerous iconic places for capturing images.

For this particular photoshoot, I managed to secure the cover and 7-8 pages of content. However, there were some challenges along the way. The model arrived two hours late, and it took an additional three hours for hair, makeup, and fittings. By the time we were ready to start shooting, it began to rain, and daylight was rapidly fading.

Instead of panicking, I chose to remain focused and problem-solve with my team. We couldn't reschedule or cancel the shoot; we had to deliver results. Despite the rain, we were able to capture several stunning and cinematic photographs that I was pleased with.

Usually, it's difficult to convince someone to shoot in the rain, especially for a magazine shoot. However, we had no other options. We all put in our best efforts to achieve excellent outcomes.

In the end, we all had a great time shooting in the rain. It turned out to be an unexpectedly cool experience.

During this photoshoot, I had the pleasure of collaborating with model Maria Rudenko. We already knew each other through my project "Sweet for Later," and I knew she would be a wonderful fit for this project.

However, what truly amazed me was her approach to the photoshoot. The theme was the fashion of the 70s, which meant her posing had to reflect that era. Prior to the shoot, we met at Maria's home. We discussed the upcoming photoshoot, and she spent hours in front of the mirror, studying and mimicking poses from 70s models, trying to immerse herself in the right mood. Maria fully immersed herself in the process and dedicated herself wholeheartedly to the preparation. I had never seen a model take the preparation for a photoshoot so seriously.

This experience changed my perspective on working with models who approach their profession with great seriousness and put in all their efforts to develop their craft. It was inspiring and had a positive impact on the final results. I realized the importance of working with models who are truly devoted to their work and willing to invest their maximum talent and energy into the shoot.

For a long time, my dream was to do a photoshoot for Interview Russia. I met with the magazine's team in Moscow and showed them my portfolio, but it seemed like they didn't show much interest in my work. Undeterred, I continued to persistently send them emails with new works and ideas for future shoots.

Finally, my patience and perseverance paid off - I received a request to do a shoot for Calvin Klein in Paris. Being based in Paris worked to my advantage, as the magazine decided to choose a local photographer instead of bringing someone from Moscow. Additionally, I was represented by an agency that helped with organizing and conducting the shoot.

We were able to rent a spacious photo studio for the shoot at no cost, and my agency assisted me in assembling a team of professionals. Thanks to my connections with the modeling agency Oui, I was able to collaborate with the beautiful model Emma Stern Nielsen for this shoot.

Initially, I felt a strong sense of excitement and tried to do too much, even though the main task was to create simple and elegant shots. I wanted to infuse all my creative energy into this shoot. However, I realized in time that it was important to focus on the given task and approach it with clarity and determination.

One day, I received a message from a model named Asia, informing me that the photos from our model test were used in a publication by the French magazine Grazie.

This sparked my interest because I hadn't given permission for the use of these photos, and I wanted to understand how the magazine obtained them. I decided to contact the modeling agency I was working with to clarify the situation. I wasn't angry or accusing anyone; I simply wanted to find out what had happened.

The agency confirmed that they had provided the photos to the magazine without informing me. I made it clear to them that in the future, I expected to be notified in such cases, as magazines are required to pay for the use of photographs. Additionally, it was important to me that my name be associated with the specific photos that were published.

Despite the lack of communication, I was pleased with the unexpected publication in Grazie France, and I even purchased a copy of the magazine to add to my archives. This experience showed me that sometimes unexpected turns of events can have positive and unexpected outcomes. It is crucial to pay attention to details, learn from such situations, and strive to improve communication with modeling agencies to ensure that all processes are transparent and mutually beneficial for everyone involved.

For me personally, this cover for Marie Claire Magazine is one of my most impressive commercial covers. The strong portrait of the model and the design of the cover look very striking and vibrant.

However, despite all its qualities, this cover was not selected for publication in this particular issue...

A few weeks after the photoshoot, the magazine contacted me to inform that they needed to replace the image on the cover. The reason was related to a change in the model's outfit. They had to replace the Chanel dress with Dior. And in this situation, nothing could be done. It shows how important advertisers are and how magazines make money.

Of course, I was a bit disappointed. I wanted this cover to be published because it was stunning. The model, her agency, and the entire team working on the shoot were also very disappointed. But sometimes these things happen, and we must keep moving forward.

I had been waiting for an opportunity to collaborate with Numero Russia since its launch. As a huge fan of Numero Paris and its iconic aesthetic style, I was confident that my own photographic style would be a perfect fit for the Russian edition of the magazine.

However, I had to wait for over a year before I finally got the chance to work with the magazine, and even then, it was only for one page in an editorial. Despite this, I saw this opportunity as a stepping stone for further collaboration and development.

We spent two hours in the studio to capture just one photograph. It was crucial that the costumes and accessories looked stunning, and the fashion director had to approve the final image right there on the set. Fashion magazines always strive to showcase fashion in the best possible light, and that requires attention to every detail, including the pose, facial expression, and lighting. It's a comprehensive process.

Although it didn't fully meet my expectations of collaborating with Numero, I did everything in my power to achieve the desired outcome. While I had hoped for more creative freedom and experimentation with different interpretations, I also understood the importance of presenting the garments in the best possible way and ultimately selling them.

Several months later, I received another request from Numero Russia for a lingerie photoshoot. I was thrilled with the opportunity to create a lingerie story in line with Numero's aesthetics.

However, during the preparation process, several issues arose. The editor confirmed the model without consulting me, which was unexpected. I believe that for such large-scale shoots, it is essential to choose a model who inspires the entire team, including the photographer.

Another challenge was that the editor kept changing their mind on almost every aspect, even after previously approving the concept days before the shoot. This caused a lot of confusion and made it difficult for me to execute my style and vision.

At some point, I gave in and simply followed the constantly changing ideas of the editor. It was a disheartening experience, and I just wanted it to be over as soon as possible.

I felt a sense of emptiness within me and it seemed like I missed the opportunity to create excellent material. I couldn't express my vision, and it felt like I was just pressing the button as a photographer.

In the end, the images turned out decent thanks to the art director and editor who assisted in post-production. However, this experience taught me the importance of standing up for my vision and style, as well as the need to improve communication skills to effectively convey my ideas and create outstanding images.

Several months after my arrival in Paris, I met Tanya Pinskaya. Tanya is a talented journalist who collaborates with several renowned Russian and Ukrainian magazines. She always needed a photographer to capture portraits of the personalities she interviewed. Together, we worked on numerous interviews with exceptional individuals, including Takada Kenzo, Christian Louboutin, Pierre Cardin, Jean-Paul Belmondo, and many others.

For me, it was a fantastic opportunity not only to photograph these remarkable individuals but also to personally meet them. Including celebrity photographs in my portfolio had a positive impact on the status of my work and opened up new possibilities.

These photographs serve as evidence of my ability to work with well-known and influential personalities, which attracts the attention of clients, employers, and colleagues in the industry.

Moreover, working with celebrities opens up new perspectives and creates valuable connections in the industry. Establishing professional relationships with famous individuals, their agents, stylists, and other team members expands my network of professional contacts and provides opportunities for future projects and collaborations with influential brands and publications.

Furthermore, working with celebrities offers a unique opportunity to delve into their world and bring my vision to life in portraits that reflect their personality and style. It allows me to showcase my creativity, professionalism, and ability to capture the essence of these individuals.

In conclusion, collaborating with celebrities not only enhances my portfolio but also elevates the status of my work, expands my professional network, and enables me to express my artistic vision. It is an important aspect of my photography career that brings valuable opportunities and opens doors for further growth and success.

During my work in Paris, I often received requests from Russian magazines. Thanks to my knowledge of the city and connections in the fashion industry, it was convenient for them to collaborate with me instead of bringing their own photographer.

I was attracted not only to photographing model tests but also to the opportunity to work with actors and singers for magazine shoots. I aimed to build strong relationships with the magazines, with the hope of having full-fledged fashion editorials published in the future.

This collaboration provided me with an opportunity to expand my portfolio and work with various personalities. Shooting not only models but also celebrities, actors, and singers added extra interest and diversity to my work.

Establishing strong connections with the magazines opened up prospects for future collaborations and publications. When a magazine has trust in the photographer and their work, they may reach out for new projects later on. This was something that happened quite frequently in practice.

I reached out to Damir Doma's press office via email with a proposal to shoot a series of portraits of this talented designer. I was particularly interested in working with Damir Doma because we shared something in common - we both relocated to Germany in our childhood and spoke German.

Damir Doma visited my studio, and together we created several great portraits. These photographs were later used on his website, in press releases, and in magazine interviews. As a result of this successful collaboration, Damir Doma reached out to me with an offer to photograph their next accessory collection.

This experience showed me that sometimes such initially creative projects can open new opportunities for working with brands. After the brand saw my work and appreciated my perception and interpretation of their style, they became interested in my services for creating images and photographs for their subsequent collections.

This demonstrates that having the courage to propose your ideas and take initiative in establishing connections with brands, through portraits of their designers, can lead to new possibilities and collaborations. Such projects not only provide a chance to showcase your creative potential but also serve as a pathway to building long-term relationships with brands that value your vision and style in photography.

I also sent a direct message to David Koma on Instagram, offering to create a few new portraits for him. At that time, David was preparing to showcase his clothing collection at Paris Fashion Week. Later, I visited his showroom, where we met and agreed on the photoshoot.

I also attended the fashion show to capture some backstage photographs.

Several years later, the renowned brand Mugler appointed David as their creative director, and they used our photographs for their official press release.

Photographing music bands presents a unique challenge for me, different from shooting models. My task goes beyond capturing high-quality photos; it involves conveying the atmosphere of the music and the image of the band. It's important not only to depict the musicians' appearances but also to express their creative energy and style through the photographs.

First and foremost, I pay attention to the genre and style of the band's music. Each genre requires a specific approach: energetic and dynamic shots may suit rock bands, while jazz ensembles might prefer more refined and nuanced photographs. I strive to capture the emotional essence of the music through visual representation.

Secondly, establishing good communication with the band plays a crucial role. I actively engage with the musicians to understand their perspectives and ideas regarding visual representation. This fosters a trusting atmosphere and enables us to collaborate effectively in producing vibrant and expressive photographs.

Additionally, I take into account the individuality and style of the musicians through their clothing, hairstyles, and accessories. My aim is to skillfully highlight these details and help create a cohesive and distinctive visual representation of the band.

Composition and lighting also play a pivotal role in creating impactful photographs of music bands. I seek to create intriguing angles, pay attention to the composition of the frame, and utilize lighting that enhances the mood and character of the music.

Ultimately, photographing music bands requires a specific approach and a creative vision. It provides a unique opportunity not only to capture high-quality photos but also to help the band convey their music and image through the art of visual storytelling.

Working with Pierre Cardin has been an unforgettable experience for me. He is one of the most influential and significant fashion designers of all time, with a tremendous impact on the industry. I had the unique opportunity to capture several photographs with him in his office, located right across from the Elysée Palace.

One photograph that I particularly treasure is the one where Pierre Cardin is signing his book. It feels like the image transcends time and conveys an indescribable emotion and atmosphere. Within that frame, an entire cinematic experience is hidden, coming to life before your eyes.

Working with such a historical and prominent figure in the fashion world allowed me to immerse myself in his world and gain a unique perspective on fashion and creativity. It was not just an opportunity to capture the greatness of the designer, but also to delve into his energy and style. These photographs have become not only a valuable addition to my portfolio but also an inspiring source for my own artistic endeavors.

Musicians often display a continuous desire to change their image and style. This makes working with them a real challenge and an exciting adventure for a photographer. One example that I had the pleasure of working with is Ivan Dorn.

Every time we photographed Ivan, he would appear with a fresh new look and style, which inspired us to come up with new and bold ideas for the photo shoots. He is a true talent who is always ready to experiment and open to creating something new and exciting.

Musicians like Ivan embody creative freedom and express themselves through their outward appearance. Their style can change from album to album, from concert to concert. This means that every time we photograph them, we have the opportunity to interpret their new image and convey it through the photographs.

Working with such musicians requires flexibility and creative thinking. We need to be open to their ideas and be inspired by their energy and style. This allows us to experiment with different concepts, moods, shooting locations, and aesthetics to bring their new image to life in unique and captivating photographs.

I had a wonderful opportunity to do a photoshoot with the music band "Dolphin," and it was an unforgettable experience for me.

It all started when I photographed a girl who knew one of the band members. I asked her to introduce me to the musicians, and to my surprise, "Dolphin" agreed to collaborate with me. We had several photoshoots together, and each one was unique and inspiring.

"Dolphin" has always been and remains one of my favorite musicians. Even as a teenager, I was fascinated by their artistry and listened to their music non-stop. Having the chance to be photographed with them and personally meet them was a dream come true for me.

This photoshoot with "Dolphin" not only allowed me to capture my favorite musician but also inspired my creative journey. It reminded me of the importance of working with people who inspire and motivate me, and of infusing my passion and love for art into every frame. Being a photographer and having the opportunity to meet and work with such talented and inspiring individuals is a true joy and an integral part of my own creative path.

Working with celebrities in photography can be an important element in a photographer's portfolio. It helps attract the attention of potential clients and creates the impression that the photographer has experience working with well-known personalities and can deliver high-quality work.

Having photographs with celebrities in a portfolio can also be beneficial, especially when trying to break into the fashion industry where working with famous individuals is common practice. It provides an advantage by showcasing experience with celebrities and confirming the photographer's ability to collaborate effectively with such clients.

However, it is essential not to forget that clients evaluate photographers not only based on the presence of celebrities in their portfolio. They are also interested in technical skills, creativity, professionalism, and the ability to interact with clients. Therefore, having photographs with celebrities in a portfolio is an advantage but not the sole criterion for attracting clients.

The Russian magazine "Sobaka" from St. Petersburg approached me to photograph Karina for their upcoming issue. I had previously worked with this magazine on several projects.

Although I didn't know Karina before the shoot, I learned that she was a well-known figure in the fashion industry, working at Conde Nast as the Executive Director of Editorial Development.

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

A few months later, Karina reached out to me and asked if she could use our photographs for her book. I was thrilled; it was my first book cover!

Working with Natalya for her new book, which focused on showcasing the beauty of the female body in the context of a healthy and active lifestyle, was an incredible experience. After negotiating the terms, I flew from New York to Paris to collaborate with her for two days. On the first day, we worked in her spacious and luxurious home near Paris, and on the following day, we ventured out into the city streets.

In total, we created around 12 photographs, and the shoot resembled a large-scale production with a team consisting of a stylist, makeup artist, and hairdresser. The production was well-organized, and our team effortlessly brought all the ideas to life. Working with Natalya was fantastic; she fully entrusted our team and allowed me to showcase my creativity and style.