Two weeks before my birthday on May 12th, I arrived in JFK. In 2010, I moved from Germany to Paris, and it was also on May 12th, which was a mysterios coincidence.

After a long flight, I took a cab and went straight to East Harlem, where I was staying for the next three weeks. I quickly took a shower, left my bags at home, and went for a walk. I couldn't wait to explore and start discovering the city, but my perception was impacted by the jet lag that I was experiencing for the first time in my life.

In a way, I already knew this city pretty well from all the movies, TV shows, advertisements, books, and music videos that I had seen. Images of American culture, the American dream, and the American way of life were already pre-programmed and pre-installed in my mind.

NYC, like Berlin, Paris, and Moscow, made a huge impression on me. But this time, it was different. It took me a while to realize what it was. It's all about NYC's energy that makes it so special and unique. It's raw and wild energy that is storming and raging from everywhere around you. In some way, you might feel that electricity passes through your body and your mind. Buildings, cars, and people are in a constant vibration and in hysterical dancing.

With time, you get addicted to this constant rush of adrenaline. You would walk the streets and see great buildings, fantastic architecture, and next to them, terrible houses, streets full of trash, homeless people lying in the streets. There's craziness everywhere. You don't walk; you start to run, keeping up with the tempo.

I walked for hours non-stop, observing and absorbing this energy. At some point, it was too much, and you would feel your brain about to explode.

And I needed this explosion to happen in my life. After five years in Paris, I got stuck and framed into my own style. I became predictable for clients and for myself as well.

I was desperately looking to restart and reinvent myself and my photography. I needed new challenges, and NYC is the right place to be to challenge yourself to the extreme.

At first, I didn't have a plan to move and live in NYC. My initial plan was to stay for six weeks and see how things would go. Without any pressure and no expectations. But something was telling me that I was staying.

After my arrival in New York City, I wasted no time scheduling appointments with all the leading model agencies in town. I was eager to gauge their interest in my work and determine my prospects for success in NYC.

My friends, who were bookers in Paris, assisted me in organizing my initial meetings with their NYC colleagues. Fortunately, my model tests were already well-known among agencies, as many models I photographed in Paris were also based in NYC, and agencies often used our images in their portfolios.

I was thrilled to receive a warm reception from most agencies, who were eager to collaborate with me. I was able to work with models from the main board and earn generous compensation, ranging from $550 to $650 per test, a significant increase from my Paris rates of $250-$300.

In addition to scheduling go-sees with models I planned to shoot, I also took quick polaroids to get a better sense of their personality and overall impression, which was a new and fascinating experience for me. This allowed me to meet the models in person, beyond the images provided by the agency, and engage in some conversations before the actual shoot.

Soon, I began receiving requests from agencies for model tests, many of which were aimed at creating photographs suitable for Victoria's Secret castings.

I was well-prepared for such requests as I had a talent for capturing striking portraits and body shots that showcased the strength, femininity, and beauty of the models.

My distinctive Parisian style, which emphasized feminine allure, set me apart from other photographers in New York, and I quickly became a sought-after photographer for top modeling agencies such as The Society, The Lions, IMG, Next, DNA, One, and Elite.

When I arrived in New York from Paris, I already had many French friends who had settled in the city. They were very supportive and introduced me to their friends, further expanding my network.

In search of shooting locations, one of my friends offered their spacious apartment in Chelsea as a place for photo shoots. It was the perfect spot for me: three floors, plenty of natural light, modern furniture, and a rooftop with a breathtaking view of the city. I organized more than seven shoots in this amazing place. Contacts, contacts - they opened up new opportunities.

I was constantly meeting new people and exploring different locations for photo sessions. I wasn't afraid to ask questions and seek out new possibilities. In this way, I later found a rooftop on the Lower East Side for a shoot with Victoria's Secret models.

Additionally, I used some of my Airbnb apartments as shooting locations.

For me, it was important to keep up the pace, not to slow down, maintain momentum, be open-minded, and shoot, shoot, and shoot again.

Arriving in New York City was like being born again, eager to seize every opportunity and explore different possibilities for creating new images and gaining fresh experiences. The city's dynamic and energetic tempo fueled my productivity, creativity, and effectiveness, and I found myself shooting almost every day, doing many model tests, and working on personal projects.

One of the things I loved about NYC was the access to a multitude of wonderful indoor and outdoor locations, as well as the opportunity to collaborate with many talented creatives. The fast-paced environment was a welcome change from my experiences in Paris, where everything seemed to take multiple meetings over coffee or wine to accomplish. In NYC, if you had an idea, you could find artists who were interested the next day and shoot.

The outcomes of my initial shoots in NYC were thrilling, and they motivated me to continue pushing forward with my photography. The city's energy and endless possibilities had maximized my output, and I felt like I was inhaling pure oxygen. It was a great start, and I was excited to see where it would take me.

THIS PHOTOGRAPHER FROM BELARUS TAKES SOME OF THE MOST SEDUCTIVE SHOTS WE'VE EVER SEEN
Jurij Treskow has a keen eye for the female form.

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.

Needless to say, he was intrigued. Treskow and the woman sparked a brief romance, and when it ended he was determined to live in the world of fashion, photography, and, of course, glamorous women. "I started taking pictures of models in Brest, Moscow, Berlin, Paris, New York—everywhere I went. Soon enough, I quit my studies in economics and started circling the globe, photographing beautiful women for a living."

Treskow soon developed a style all his own. "I always look for a woman, a femme fatale, who is reckless, confident, sexy, and strong. And she has to be having a lot of fun. She must enjoy herself," he says.

Although he doesn't work exclusively in black and white, it's a style that holds a special allure for him. Indeed, his most striking images are monochromatic. "Black-and-white photographs are all about the soul. We don't see the world in black and white, which makes black-and-white photography even more exciting. It's a fantasy world. It's an escape."

Treskow prepares meticulously for his shoots. "I try to train my imagination like a muscle," he says. "I dream a lot. I'm very curious and I love to be surprised. I do my homework and prepare a mood board, but I rarely use any of it during the actual shoot. Once on set, my eyes are open. I am in the moment; it's all hands on deck and the adventure begins."

2017

After returning to Europe in June 2015, I eagerly planned my return to New York. However, despite my readiness to embark on this exciting new chapter in life, I encountered a series of difficulties related to visa extension and necessary paperwork. Nevertheless, I decided to rely on my inner instincts and intuition to overcome these obstacles.

During the three years spent in New York, my perception of the city underwent significant changes. My idealized notions gave way to a more realistic view of reality. New York became a place where constant pressure for success and the pursuit of achievements exerted their influence. At times, I experienced depressive states triggered by this perpetual pressure. In a city where each day expects you to make a significant contribution to the world and work diligently, the feeling of idleness or not reaching sufficient success could be perceived as a personal failure, making me feel inadequate and worthless.

In New York, there is immense emphasis on money and success, and there is always a need to be occupied with something; otherwise, one can experience a sense of being lost. This pressure became overwhelming for me, leading me to gradually withdraw. I started to realize the importance of balance and the need to preserve my own individuality, as well as my physical and mental well-being in this demanding environment.

At the end of October 2018, I returned to New York, and this time I rented an apartment with my friend who was also a photographer. We planned to stay here for two months. It's no surprise that we chose the Williamsburg neighborhood because it's a place where I feel right at home. It's where I find inspiration for my creativity and enjoy the vibrant atmosphere.

This trip to New York was quite eventful and filled with various activities. I attended numerous parties, organized new meetings, and managed to fit in photo shoots. It was a period of experimentation for me, as I decided to explore new techniques and approaches to photography. I started using color filters and incorporating more video elements into my work to create vivid and original pieces.

I still had good connections with agencies that helped me find models for my shoots, and of course, Instagram played a significant role in this process as well.

However, despite all the successes, it was challenging to stay in New York for an extended period. By the end of the trip, I felt physically and emotionally drained. The city's fast-paced rhythm, its demanding nature, and the constant pursuit of success had taken their toll on me.

After spending nearly six months in the USA in 2020, I have returned to Europe. During my trip, I visited NYC for almost two weeks, where I stayed in an amazing studio in Williamsburg that belonged to a close friend of mine, Cate Underwood.

Being back in Williamsburg after almost three years was an incredible feeling. I enjoyed walking around, grabbing coffee from my favorite spots, and meeting up with friends. The energy in the area is so different from L.A. - it's edgier, rawer, and encourages you to keep moving and not get too emotional. It's all about taking action!

Luckily, I had access to the rooftop of my house, which had the best view over the city in Williamsburg (probably the best view, period). I spent some time meditating, organizing my thoughts, and setting priorities.

Even though NYC was technically still closed due to COVID, I was able to organize a few photo shoots. However, there were not many models available, and most of them were not yet ready to shoot. COVID made things more complicated, and I had to follow special guidelines provided by the agency during the photo shoots.

For example:

Take all necessary steps and measures to ensure that no person on set has COVID-19.
Provide EWG with advance written notice if any person who will be on set has been ill with, exposed to COVID-19 and / or in quarantine.
Maintain 6' physical distance between all those attending/ participation in the shoot.
Limit the number of personnel onsite (required cast and crew only).
Provide individual and contactless meals.
Disinfect all surfaces and shared items.
... and so on.

Before confirming the shooting, it's important for you to sign this form. Although it takes away some of the magic from the creative process, it's necessary to have these precautions in place for now. It might make you feel a bit more secure.

Seduction and the risk of losing it forever.

Seduction is a universal, primal language - an animal instinct, a matter of survival, of continuation. To seduce is to hunt, to provide, to kindle the flame: a primal activity encoded in our DNA. As a species that has been around for about 315,000 years, it's time to distinguish between the animal and the human, between the essential, the acceptable, the surpassed, and the condemnable. It's time to focus on the power that gives us the ability to decide and to take responsibility for each of our actions, with the hope of making this world a better place for the five kingdoms (Plantae, Animalia, Fungi, Protista, and Monera).

Oh, the seduction! Its allure is unrelenting, a scent that lingers and tugs at our very will, threatening to tear it asunder. Disguised in the form of a gaze, a kiss, a solitary or shared climax, this yearning for life's pleasures is almost akin to an endangered species in 2018. It's like the cub of a fearsome dragon that must be protected, nurtured, and, ultimately, allowed to devour you. Jurij Treskow, the Belarusian photographer, stands as its staunch defender, armed with a lens and an objective as his secret weapons.

At the age of three, Treskow first picked up a camera. His grandfather, an amateur photographer, would use old cameras as building blocks to create his own imaginary worlds, like precious Lego pieces in the final moments of the Soviet Union. Three decades have passed, yet the camera still serves as Treskow's tool for capturing his fantasies. His work is greatly influenced by iconic photographers such as Avedon, Newton, Bourdin, and Penn.

In an industry plagued by scandals and demands, Treskow rescues the subtle language of seduction and the power of a heel, which "makes a woman feel stronger and more dominant, giving her control." For Treskow, a woman's lethal weapon and infallible seduction tool is her sense of humor.

I enjoy using collages in my work. It's an interesting and innovative way to add depth and complexity to my photographs, reimagining them and sometimes giving them a second life.

Creating collages allows me to experiment with different materials and textures, such as magazine cutouts, photographs, and various other elements, to create a unique and visually appealing composition. I love exploring different concepts and emotions through this technique, adding an element of experimentation to my creative process.

Working with collages gives me the opportunity to play with layering, transparency, and texture, creating a multidimensional image that tells a story. This approach can be beneficial in my commercial work, where I can add a fresh and unexpected element to the final result.

SANTE D'ORAZIO - a legendary photographer whose photographs are sure to amaze you. You can find his works on santedorazio.tumblr.com and by searching his name on Google.

One of his books, which I accidentally bought at a bookstore in Freiburg while I was still studying economics and just starting out in photography, became a strong source of inspiration for my early photoshoots. His energy, the sensuality captured in his frames, and his rock 'n' roll style were so vibrant and captivating. His vision of women and photography exuded so much life and fun, leaving a profound impression on me during my student years.

Many years later, I had the opportunity to visit Sante at his studio in New Jersey. He shared incredible stories with me about his beginnings, the path he forged, and amusing anecdotes from his photoshoots. He proved to be not only a great artist but also a fantastic storyteller. I was in awe and felt like I was in a Martin Scorsese film, surrounded by his typical characters - Americans with Italian roots.

I asked for permission to capture his portrait in his studio, aiming to capture the beautiful play of light and shadows. A true gangster! From our conversations, I emphasized that all his works are autobiographical and can be seen as self-portraits of the artist

In 2017, I visited L.A. for the first time for a photo shoot with a German magazine called Flair. It was an intensive five-week preparation process with my agency in Paris, ArtBoard. We shot at a beautiful house near Malibu, and I was blown away by the quality of natural light in L.A. The colors and contrasts were vibrant, bright, and strong, and I immediately saw the potential for my photography in this city.

After that first visit, I knew I wanted to spend more time in L.A. and explore its photographic opportunities further. In January 2020, I finally made the move to L.A. However, balancing my time between L.A. and NYC has been challenging, and maintaining connections in Europe due to the time difference has been a potential issue.

This is another interview from the "Our Heroes" series.

This time, Alexander Berezkin talked with a photographer - Jurij Treskow about whether the photographer is friends with models, how he got his first order, and why young photographers don't need advice.

Jurij Treskow: You have to make some kind of introduction, for what and for whom is this everything?

Alexander Berezkin: This is a conversation with you and me. (Laughs) Then, if there's something worthy, we'll publish it.
How have you been?

J.T: I survived.

A.B: How about New York?

J.T: New York was wonderful. I really enjoyed it this time. I spent a month and a half there, and it felt like I was doing it all in one breath, like never before. There were many different events. Eventually, you release your grip on the city and instead of fighting against it, you relish in the sharp turns. Very sharp turns. Before, I wanted to find peace and tranquility there, where it didn't exist in the first place.

A.B: Okay, how long has your search been going on?

J.T: Diving deep right away, hm? No, there was no initial anxiety. When you arrive in a city that is bustling with activity and exudes strength and power and you're trying to find a quiet creative harbor for yourself, then you clearly don't need to be in New York.

Well, as much as I could, I stayed in Williamsburg. But it's like being in a state of schizophrenia. You live in one place, but you see or want to see everything differently around and inside of you. And it quickly bounces you back. And it can hurt.

A.B: Where did you live when you moved from Minsk? You lived in Paris, right?

J.T: From what I can tell, Alexander was well-prepared for the interview.(Laughs)
Let's start with the fact that I was born in Polotsk and lived in Brest until I was 17. Then I went to Germany with my parents, to a small town near Frankfurt.

A.B: Is your dad a military man?

J.T: What military man in 2001 will move from Belarus to Germany, why? No, my dad's jewish roots played a significant role in us getting documents to move to Germany. I was in my teenage maximalism period and then Germany happens.

I hope Alexander prepared well for the interview, because the next question will be…

A.B: When did you start taking photographs, Jurij?

J.T: Great question! Let me deflect with a question of my own. When did you start taking interviews, Alexander? He showed me a finger. Normally, that's where the interview ends. (Laughs)

A.B: The first interview I did was with Ira Lobanovskaya. It turned out to be a mess. But you know what's cool? When you bring people from different universes together, and then...

J.T: And everyone talks about each other in the end…

A.B: Do you remember your first job where you got paid for your photos?

J.T: I can't recall my very first shoot, but I do remember getting my first big paycheck. It's a funny story.

In Berlin, I was shooting backstage for a magazine called "Vsya Europa." I guess a criminal guy who opened the fashion magazine to make himself a little more legitimate. He became the editor-in-chief and did interviews with his celebreties and others. Just like Alexander, through interviews trying to legalize himself in the creative elite. (Laughs)

They brought a photographer from Israel. There were many assistants of different kinds on the set. Big production. I took some backstage images and some of them were so good that they took them into the final selection and printed them in the magazine. Of course, to the Israeli photographer's hysterics. I didn't care much. My first editorial.

After that, the editor-in-chief said that she had a friend who is a big producer of really cool, elite jackets and suits. Patrick Hellmann. They wanted to shoot an image campaign and offered me something like €950 for the whole production. It was some year in the 2000s...

A.B: 2001?

J.T: No, it was either 2006 or 2007. For me, when I was still studying and receiving a scholarship at a German university, it was big money.

I needed to shoot with a studio lightning. I had no clue how it works.
So I invited a friend of mine - Robert to assist me. In return later he pulled me in on another paid shoot where I was his assistant. 1:1.

But I couldn't get the money right away because it was all official, and I had to register as a photographer in Germany.
That was the driving force for me to register myself officially as a photographer.

A.B: Okay. Another question. When did you start photographing girls?

J.T.: At very first, I photographed dew in the mornings and various dust particles. My preference was macro photography. I was amazed and excited.

There was a website - Skill.ru, where I uploaded my works and there was a system of comments and ratings. I was one of the first registered users, because I knew the creator. It was a very peculiar online community back then. And this motivation to post photos and receive feedback from people was very exciting, it was probably around the year 2002-2003 or maybe slightly earlier.

And it was really cool for expanding your horizons and communicating with people. It sounds crazy, but back then it was thrilling.

And so, I posted all kinds of pictures. And at that time, when there were rankings, I was in the top 10, but not because of the quality, but probably because of my methodicalness and persistence. Gradually, these photos led me to the realization that if you photograph people, you get a higher ratings.

While in Brest, I had a conversation with a friend of mine who worked as a fashion stylist and had connections to models from the "Elephant" modeling agency. Out of his friendship, he told me of a few exceptionally gifted girls and proposed arranging photoshoots with them.

I requested the models to bring their own clothes and makeup kit, and on my part, I brainstormed several unconventional concepts. I purchased red threads and collected a variety of peculiar objects from my home that I could incorporate into my work. I wanted my photographs to stand out and be distinct, so I tended to over-style and over-complicate them.

A.B.: Do you make friends with your models? (laughs)

J.T.: Moving on to the next question (laughs).
I am very friendly with my models, not with all of them, but with many. I maintain very warm and instructive relationships. But, perhaps you meant whether the friendship leads to full-fledged relationships? It varies.

With most of them, you simply become friends and occasionally spend time together. And there is nothing surprising or embarrassing about this, because you are a photographer. You have your own circle, work, and free time closely linked to the world in which you live. And it's not because you're such a fun, wonderful, and wealthy person that you have a lot of good-looking girls, but because it's your sphere of life.
Nurses, perhaps, hang out with other medical staff, and maybe with doctors and surgeons. I don't know, maybe they have their own circle. But this my circle. Models, stylist, make-up and hair artists and so on…

A.B.: Do you have a permanent team that you work with?

J.T.: No, not yet. While there have been a few one-off teams that were very memorable, I haven't put together a team to work on projects with on a consistent basis. I'm planning on doing that next year as there will be a major shift in the direction of my photography.

A.B.: Okay. Who are your idols in photography?

J.T.: Sasha Berezkin could become one of them, first and foremost, if he devoted more time and attention to photography and took more pictures of people. Because, I think, he has very good qualities for it and enough time. (Laughs)

Idols, as such, sound lofty. When I was young and very curious, I read about many photographers: their biography, interviews. Of course, their photographs were very impressive, but I was more interested in their thoughts, facts from their life, the problems they faced, and how they solved them or how they viewed different things.

So, their notes, what they were wearing, what their office looked like, what books they read - that was much more interesting to me than drawing inspiration directly from their photos.

Well, the classics, of course, are obvious - Richard Avedon, Helmut Newton, Guy Bourdin, Sarah Moon. Sarah Moon is such a striking photographer, but her inspiration is very enchanting. Then there's Ralph Gibson. Many reportage photographers, whose names I don't remember.

A.B: Where do you see yourself when you're 65?

J.T: Alexander and I will be drinking beer in Asia, in the new cultural and financial center of our planet. It's hard to predict where I'll be at 60. Hopefully, I'll have a wonderful family and children. I'm not sure about grandchildren by 65, but it would be nice.
I see myself as a great and very fun dad and grandpa.
I would like to have secured myself from the need to work hard by that age, and instead, observe, contemplate, and maybe keep moving, but I think the world will change so much that it will be very exciting.
But I don't want to do photography at that age. Firstly, my physical condition will be different. It's not very interesting to me to sit still in a chair and have people move me around to take portraits.

A.B: Okay, besides people, would you like to photograph nature or architecture?

J.T: The natural world evokes a deep sense of warmth and contemplation in me, but I am not particularly interested in attempting to capture those feelings through photography.

A.B: So, you're not a tree hugger?

J.T.: What?

A.B.: A tree hugger?

J.T.: I do embrace trees, and somehow, I feel like dissolving and merging into them. I hold a deep appreciation for those who can express and uncover themselves. In a way capturing still lifes and landscapes is the pinnacle of photography.

A.B.: With which models who are no longer with us would you like to work?

J.T.: I like the late 80s and early 90s when there was the era of supermodels. It's hard to imagine what it was like. Suddenly, so many strong and reckless women appeared on the horizon, these women and this power. They were like pioneers and there is beauty in that. Nowadays, it's hard to discover something similar. .

A.B: Have you noticed that the value of idols is lost over time? For example, if The Doors and Jim Morrison were around today? Supermodels can't exist today.

J.T.: The same thing applies to photographers. Peter Lindbergh wouldn't even get some model tests in Paris with his photos now, most likely. He would be one of forty thousand in his own style.

A.B: You're driving a tractor all over the place.

J.T.: When you remove idols from the horizon, you're clearing the stage for experimentation. We've invented some enclaves, concentrations in the form of idols, but in general, it's Brownian motion. It will be impossible to take one profession and pursue it for the rest of your life. It's an opportunity to try a lot of different things in life and thanks to technology and speed. I'm not afraid of that. And soon, I'll be done with photography altogether.

A.B.: So you're switching to video?

J.T.: If you start working more with digital, at some point your tools for capturing images change so much that it doesn't matter what you have in your hands - a camera or something else. It could be a phone. At some point, this could be the movement of the eyelid. Or, maybe, in your head you'll be like a Lego constructor, putting together your own story. After all, a camera in your hands is just a tool.

A.B.: So, do you want to move towards conceptual photography?

J.T.: Well, that's hard to say. Spontaneity is my creed, to some extent. I've talked to all the doctors. They say, "Jurij, you're spontaneous, and that's your strength." That's why it would be good for me to think about projects, but I'm unlikely to be able to lead one without being distracted by others.

But, I see your point. And the exhibitions I've held in Moscow this year probably reveal a glimpse of what I'd like to do next, not within the framework of some events, but in this plasticity of life.

In this coming up with and immediately showing. To freeze and disappear for six months and then provide some project for humanity is not my thing.

A.B.: Okay, tell us about your life rules, very mundane, simple, related to people, for example.

J.T.: There's such a literary moment, when in books and songs and in some conversations over wine, in the kitchen, you come up with some kind of life rules, and in some way you live not according to life. That is, you apply a filter that smoothes things out. Or, maybe, highlights certain colors and shades, I just got a little confused, but I'll sort it out now.

A.B.: I have a certain agenda, a position in life. My project is designed for people who have never tried anything new and want to try it, they are ready for some new sensations, achievements and something exciting, but they need to go through this stage and have experienced people who are ready to be an role model for beginners.

The most important thing in life is to become the best for yourself, for yourself and to improve your own "I". Not in terms of your ego, but in terms of your skills and abilities. And thus find a balance with yourself. This is my personal understanding and what I'm doing now. I think any person is unique in this respect, and they can achieve maximum heights within their own boundaries, which can be quite extensive.

J.T.: A wonderful answer, I really liked it, I hope it doesn't end up in the interview to overshadow my answers. In any case, returning to our question. My attitude towards other people is very attentive and, perhaps, somewhat cautious in a good sense, not to cause them unnecessary suffering. That's why I use a secret weapon - humor. Some, of course, perceive it as sarcasm, but it's more irony, because people joke a lot out of fear. And they relax themselves in this way, and they relax the environment they are in. And what are the rules? I'll tell you now. Splash out. In what sense? Our thoughts and our presence influence how we form thoughts, what we ask, how we answer.

A.B.: Of course.

J.T.: And there's a part of Alexander in me now and a part of Jurij in Alexander. We're not talking about sex, we're talking about conversation. And ideally, of course, when you do not draw boundaries between yourself and the outside world, but, on the contrary, even when you are in some interior or listening to music, you absorb it into yourself, and in some way, even incognito, you influence it, if you like something. I think this is also somehow fixed. I never had a desire to have a certain character or positions, to lock myself in some shell, given that everything is very fluid, in terms of a changing world. I always try to react to the situation, it takes a lot of energy, but then, intuitively it comes to you... So, am I answering your question?

A.B.: Yes, yes.

J.T.: So, the main thing is to try not to respond and react with a tunnel vision based on established patterns every time, but rather...

A.B.: Adaptively.

J.T.: Within mindfulness, to understand what is actually happening here. This is my main rule of life: to understand what is happening here in general. Let's put it this way, it's not necessarily about just scanning everything that's going on, but to form in oneself some kind of unbearable lightness of being, as in the book by my favorite author Milan Kundera. And to move through life with this lubricant.

And this lubricant always needs to be restored and replenished. In my case, this happens thanks to filming and the creative process. And communicating with people, when you share with them and when they share with you, it really lubricates things nicely.

A.B.: Good.

J.T.: This is not about sex. Are there going to be questions about sex? No? Okay.

A.B.: How many people in your life could you rely on?

J.T.: A question about girlfriends?

A.B.: About friends in general.

J.T.: That was a joke.

A.B.: Who is a friend to you? Is it important for you to have specific guidelines that can always work, or do you rely only on yourself?

J.T.: Regarding friends. At some point, I stopped putting the responsibility on them to meet my expectations. At that moment, I want to be invulnerable and not take any missteps personally.

And in general, this very rarely happens and almost never, because from the beginning, my position towards them is to share, enjoy, and spend time together constructively. And they probably feel this lightness. Of course, there are friends, and they are the ones who really reflect back to me over time, which direction I'm moving in. That is, even voicing some thoughts and ideas, even without any comments from my friends on how it all sounds out loud, I can understand that Jurij, this is not it, this is not right, or, on the contrary, this is cool.

And in return, I can also listen very well and allow them to figure things out, even without saying anything. I love and value my friends. I sometimes take care of them.

A.B.: How do you deal with your fears? I'm not talking about adaptability, because adaptability is when you compromise your own position in order to make the situation more or less comfortable. Or do you have another position that complements the situation, you know what I mean?

J.T.: That's a really good question. Thanks, Alexander. How to answer it beautifully ? (laughs)

When it comes to fears, it's really cool to use fear as a tool to overcome it, so it doesn't drive you somewhere and deprive you of opportunities, but rather provides them. It's a very attentive and painstaking work. And I don't want to be a literary hero who always goes to the rampart or shields a friend from a bullet, or something like that.

It's a very intimate work with fears, but there are several angles to look at fear, and then, it's really scary. Sometimes the door that you need to enter is the one that scares you. And it's like a beacon that flashes and blinds you, if you remain composed, you might get closer to something.

Sometimes you don't have to lose your head. I understand that fear is a signal of danger and you have to try to avoid it. The most important thing is to learn, I think, and understand each time what kind of fear it is. Fear of progress or fear of danger.

And how do I fight it? The feeling of awareness. It's already a cliché, but you really need to analyze it. But in any case, there are many fears that still haunt me and deprive me of the joy of life. I don't yet realize and understand everything, and many still hold me hostage, but life is ahead. I need to keep stirring things up.

A.B.: Alright. I have a story for you. It's probably my own personal phobia. It's related to the idea that when I become super successful, I will lose my soul. There are situations where you do what you love, and then there are situations where you are just following your audience. You're just doing the same thing over and over again. I have a feeling that I might lose my essence. It scares me. Do you have similar doubts, and how do you deal with those feelings?

J.T.: You see, when it comes to photography, I didn't have a plan or a scheme, and that's why I was always kind of wandering around and not staying in the same place for long periods, sometimes taking one step forward and then eight steps back. And another eight back, and then after a long and painstaking month, returning to the same spot again.

I always had this aimless wandering. But thanks to this, I had the opportunity to fix some things, even if they were unsuccessful, and to try many things. When I came to this realization, the question of "what will others think" popped up.

A.B.: Alright. Let's follow up on that question. Do you shoot with your mind or your heart?

J.T.: I shoot with my mind, but I choose with my heart. Because if your heart is too emotionally involved in the process, then you start to fall in love too deeply. It's distracting, and the pictures you end up with are too intimate. Not in terms of eroticism, but in terms of the fact that it's just the two of you, and only you can feel why they're great. So you have to shoot with your mind, but trust your heart when selecting.

A.B.: What advice would you give to young photographers?

J.T.: They truly do not require any guidance as they possess all the essential tools and resources, with access to any information, platform, and technology, without any specific authorities, role models, or predefined career paths that need to be followed in order to achieve success.

Take any device that captures an image, experiment and just f*** around. Have fun.

Helmut Newton famously advised to take 10,000 shots and discard them without remorse. In the digital era, this means taking 10 million shots and discarding them before you can truly grasp the essence of the craft.

Your first shots are often appear intriguing and unconventional. Why? Because you put all your life experience into it. Initially, it might seem easy, but eventually there will be a lull, and even though your parents, grandparents, and close friends may continue to praise you and give you likes, it is important to understand how to replenish your creativity.

At this point, you need to know how to replenish your creativity.

A mentor can step in to showcase the various avenues where the youth can channel their energy.

A.B.: Thank you! We've squeezed everything we can out of this conversation!

___

2019 moscow

In 2020, after more than 8 months of staying in Moscow and traveling around Europe, I felt a strong desire to find a new city where I could settle down and work. I was looking for a new adventure, new challenges, and opportunities for my creativity.

I chose Los Angeles, a city I was unfamiliar with, but saw the potential for a fresh start. I knew I would have to rebuild my connections, find shooting locations, meet new people, and build my career in a city known for its film and music industry.

Before moving to Los Angeles, I spent almost six weeks in New York City in December 2019. However, at that time, nothing significant was happening, and I didn't feel motivated enough, so I decided to try my luck in Los Angeles. I packed up my belongings, boarded a plane, and arrived in Los Angeles in January 2020, full of determination and readiness to embrace new challenges.

After finding a small home in the West Hollywood area, I began exploring the neighborhoods and getting acquainted with my new surroundings. I roamed the streets, searched for interesting locations for photoshoots, and immersed myself in the atmosphere of Los Angeles. This city turned out to be incredibly diverse and inspiring, with every corner permeated with energy and possibilities.

I wanted to kick off a new chapter in my life with a bang, so I decided to book a stay at the legendary hotel The Standard in Los Angeles. The hotel is super popular and has a really cool and trendy vibe that draws in all the hip and fashionable folks. I specifically chose one of their locations on Sunset Boulevard because of their famous rooftop bars and pool parties that are just epic.

I attended a party at a hotel where Caroline Vreeland was performing. I was intrigued by the opportunity to photograph her, and later that summer, we met in Monaco to capture some images at Hotel De Paris. It was a dream come true, and it goes to show that anything can happen if you're willing to take a chance.

During my stay, I also had the opportunity to shoot with Elena in one of the hotel rooms. The shoot turned out to be very cinematic and artistic, which was exactly what I was hoping for.

I arrived in sunny L.A. after leaving cold and windy NYC. During the first few days, I spent hours walking and appreciating the natural surroundings: the trees, flowers, and fresh air were a refreshing change from the lifeless and rough winter of NYC.

L.A. is unparalleled in its lighting and scenic qualities; the colors are vibrant and bright. The diversity of nature is also impressive, with oceans, mountains, deserts, and lakes all accessible within a two-hour car ride.

People in L.A. are open, kind, and welcoming, and the city boasts a bustling fashion industry and thriving art scene that attracts creative people from all over the world.

I urgently needed new photographs to update my portfolio with more color photographs and great outdoor locations, and L.A. had everything I needed. I was also keen on building my portraits and celebrities portfolio with fresh shots of actors, musicians, and artists.

Finally, L.A. presented a great opportunity to reinvent myself and apply a new identity to my personality. In this city, one can be whoever they choose to be.

When I was in LA, I came up with a strategy to organize photoshoots in hotels. To do this, I would create a mood board and compile a list of models that I wanted to shoot. Specifically, I looked for models with a similar look to those in Victoria's Secret and who had a large following on Instagram. This helped me negotiate with hotels to secure a room for the shoot.

I began to collect materials for my upcoming books and exhibitions, and I knew that finding the perfect location would give my images a cinematic backdrop. As I slowly expanded my networking, I was able to establish my name in the industry.

While in LA, I noticed that the trend was towards more colorful and commercial-looking images. However, I felt that my "femme fatale" style, inspired by Paris, could bring something new and exciting to the market by breaking these rules.

All I needed was time, but unfortunately, just three weeks after I arrived, Covid hit. It was such bad luck.

I decided to do some testing in Los Angeles and used my connections in NYC to get in touch with the agencies here. I organized a few go-sees and photoshoots to stay active in the industry and freshen up my portfolio.

LA has become a huge hub for the fashion and commercial industry due to its warm and sunny climate that offers excellent opportunities for outdoor fashion shoots. Fashion designers can shoot their collections on location all year round, without having to worry about weather-related complications. This draws many models and teams from NYC who come to LA to shoot campaigns and editorials.

Plus L.A. has a strong history of music, film, and television, which has helped to shape its unique sense of style and fashion.

I was also considering to shoot portraits of celebrities again.

While in Los Angeles, I had the pleasure of meeting Daniella, a renowned photographer and model. I was intrigued by her work and asked if she'd be interested in doing a photoshoot with me. Shooting another photographer is always a unique experience.

We ended up shooting at her spacious and stunning house in the hills. Initially, I felt quite nervous, as if I were sitting for an exam in front of another photographer. But as time passed, I grew more confident and was able to focus on creating some truly amazing images.

During my visit, I also had the opportunity to explore Daniella's house and studio, which she had transformed into a vibrant and creative space where she could work and live. It was truly inspiring to see such an exemplary fusion of work and living space.

DANIELLA MIDENGE

I recently attended Photo L.A. to explore new photography and galleries. During my visit, I had an unexpected encounter with a unique individual who piqued my interest. He had a distinctive appearance, sporting long hair and sunglasses, and appeared to be under the influence of a substance.

As we engaged in conversation, he shared his work with me on his iPad, and I couldn't believe my eyes when I recognized one of his photographs - a legendary shot of Kate in 1989. This photo had been a part of my moodboards for years, and it was surreal to meet the photographer behind it.

His name is Gene Lemuel, and he is a true legend. He discovered Mila Iovovic before she became famous and has shot numerous celebrities and fashion icons in a unique and captivating way. It's a shame he doesn't have a website or Instagram to showcase his talent to the world. Encountering him was truly a miracle, and it's experiences like these that make me appreciate living in L.A.

The outbreak of Covid-19 brought about significant changes. With everything gradually shutting down and people becoming increasingly fearful, shootings and work opportunities became scarce. Despite this, I found solace in walking around, meditating, and enjoying the warm, sunny weather. During this time, I began working on an online course, which I have only recently completed.

At the height of the pandemic, it became a trend to take images using FaceTime or Skype. However, I didn't find this trend interesting, so I watched from the sidelines without participating.

With a newfound abundance of free time, I delved into my archives and contemplated what my next move would be.

Initially, I had plans to return to New York and extend my work visa in the United States. However, when I experienced the bitter cold and strong winds in the city, I made the decision to visit my close friend in Miami and escape the winter gloom. I was looking for a place that was close to Los Angeles but not too far from New York, so that I could enjoy the ocean and bask in the warm climate surrounded by palm trees.

When I arrived in Miami, my first impression was breathtaking, and I ended up staying there for almost a month. During that time, I didn't take many photographs; instead, I simply savored the warm weather and the vibrant life of this wonderful city.

In the photography industry, Miami is a thriving commercial market that attracts numerous clients for photoshoots, including those coming from New York. Due to the influence of COVID-19, many artists and professionals in the art field have relocated from New York to Miami. While Miami may not have the same level of artistic scene as Los Angeles, it still offers plenty of opportunities to develop one's creative and commercial potential.

In 2021, despite the ongoing Covid situation, I found myself constantly on the move. I started off the year in Kyiv, then traveled to Germany, Paris, and Moscow, where I was working on an exhibition that unfortunately never came to fruition. During the summer, I spent time in Moscow, Saint-Petersburg, Paris, the South of France, and finally, Istanbul.

When I returned to Paris, I realized that I wasn't quite ready for the city, so I decided to take a break and explore Milan instead. I spent a month there and enjoyed my time in Italy, as I've always had a soft spot for the country.

During my time in Milan, I decided to try my hand at model testing again. It had been over four years since I had done many tests, so I reached out to Monsters, one of the best model agencies in Milan, and we worked together to organize several shoots.

Working in the studio and playing with lights was a refreshing change for me. I had been focusing on outdoor shoots for a while, so it felt good to get back to my roots. It was also exciting to see how one of the models I tested with went on to do a Bottega Venetta campaign a few months later.

Since 2011, I have always been fascinated by London and would visit for a few days or even weeks from time to time. In 2021, despite the Covid-related restrictions, I decided to spend two months here, organizing new photoshoots and enjoying my time in this impressive city, rightfully considered a global hub.

London stands out from New York with its sophistication and nobility, and it's just a two-hour train ride away from Paris. During my last visit, I arranged several commercial shoots and worked on some personal projects.

Currently, I have been here for two months, while simultaneously nearing the end of an online course I've been working on. London continues to inspire me, and I still revel in its atmosphere. However, my main focus now is on completing the course, and I am putting my full effort into that.

Additionally, I have begun preparing for the release of a new book.

I have been dreaming of creating a book of my photographs for a long time. When I walked into a bookstore and looked through photo albums, I always enjoyed the stories and atmosphere that were present on the pages of each one.

However, to create a book, I had to accumulate material that was worthy of printing, and I had been working on it for many years. I was gaining experience to make it possible.

My travels helped me choose hotels as a place for creativity and inspiration to create the image of a la femme fatale woman that I wanted to capture in my works. I found hotels to be perfect for showcasing the essence of a femme fatale, with their cinematic and enticing atmosphere. They provided a unique mood that transformed my models into actresses, letting them take on roles of seduction, power, daring, and wildness.

Each city revealed this image in its own way, giving it individual artistic elements. Hotels have become not only a place to create a photograph, but also a place to experience it as a life experience.

When I first decided to shoot naked models, it was something new and exciting for me, as I wanted to convey the beauty of the naked body in such a way that it would evoke a passion close to falling in love. I wanted my photos not to fall into vulgarity or obscenity, but to convey the beauty of the naked body in its essence.

My book became a kind of chronicle of my creative searches. I decided to create and publish it myself to go through all the stages of book creation independently.

This limited edition book comprises 40 pages featuring the photographic results of shooting with six muses. Only 250 copies are available, making it a unique addition to any collection. It's the first volume in a series titled "Fatal Issues." Currently, I'm in the process of working on the next volume.

I am grateful to everyone who helped me create it, including models, hotel staff, friends, and colleagues.

I hope that this book will not only be a beautiful edition, but also a useful resource for other photographers and art lovers.

Photography has opened up thrilling adventures and new places that I never dreamed of. I constantly seek new experiences and discoveries, which is why I avoid staying in one city for more than two or three months.

One of the most valuable aspects of photography for me is the connections and friendships I establish through this art form. In my work, I interact with people from different walks of life, and I am deeply grateful for the relationships formed through my creative calling. Photography has allowed me to immerse myself in real life and explore the world around me. It is an exhilarating journey, not without its challenges, but through it, I have learned so much, not only about photography but also about the essence of life itself.

Photography has become a means for me to express my thoughts, emotions, and ideas. Through the camera lens, I can convey emotions and create stories. Each shot becomes a part of my creative self-expression and personal path of self-development. I constantly strive to improve my skills, experiment with new techniques, and bring my unique visual palette into the world of photography.

Photography also opens up opportunities for me to explore and discover beauty in everyday moments of life. It has taught me to pay attention to the details that often elude the ordinary gaze. Thanks to photography, I have learned to appreciate simple moments and see uniqueness in every frame.

Overall, photography holds a significant place in my life. It allows me to be creative, broaden my horizons, and share my vision of the world with others. It is an ongoing process of self-expression and self-exploration that brings joy and inspiration every day.