In May 2010 I moved to Paris from Berlin.
And just 2 weeks later I hold my first exhibition in Minsk at gallery Y.
How come?

At some point Minsk became my third home (after Berlin and Frankfurt) where I had a lot of friends and was living for months.

One of my friends Olga got an idea why not to exhibit my work at gallery Y, one of the best art gallery of contemporary art. She made some calls and to my surprise arranged a one day exhibition in May. I just needed to print my photographs and bring them to Minsk.
She and the gallery took care of everything else.

I've selected about 20 images and edited few art videos.
Around 100 people came for the opening.

There was a guy who bought 8 photographs and paid me in cash right away.

For the first time my work was bought. This all was a very exciting experience for me. You could see how much potential lies by taking part in exhibiting photography.

I had my second exhibition in Minsk at the National House of Fashion, a massive venue located in a historic building in the heart of the city.

After my first exhibition at the Y Art Gallery in Minsk was a success a year earlier, I wanted to replicate that experience. This time, I took the initiative and handled all aspects of the organization and finances myself, without any sponsors. I paid for the printing of my photographs, their transportation, and the rental of the venue.

My friends offered to help me with the preparation and organization of the exhibition. Nobody had any experience in holding exhibitions, so we did everything intuitively and with great enthusiasm.

In Paris, I really liked the idea of opening exhibitions with vernissages, where a bar with wine and DJ sets is set up. This creates a less formal atmosphere at the exhibition, and everything ends with a party.

This time, I was not able to sell my work, but from an image perspective, it was definitely the right decision.

Loads of people showed up and it was a really big deal in Minsk. It reminded me yet again of how much of an impact printed works can have on people who go to exhibitions. All of this made me feel like photography was even more meaningful to me. This also led me to experiment with new ways of organizing exhibitions in the future.

___

Conclusion:
Exhibiting your work as a photographer is crucial. It lets you display your talent and creative vision to a wider audience, receive valuable feedback, and potentially gain collaborations and job opportunities. Plus, it's a fulfilling and rewarding experience to share your art with others.

In 2011, I gave my first lecture in Minsk. I announced it on Facebook and was pleasantly surprised to receive over 60 applications. I never expected such a large number of participants.

By then, I had been doing photography for about 3-4 years, and I had enough material to deliver a 2-hour lecture. During the lecture, I talked about my shooting experiences in Paris, Moscow, and Berlin, and I was thrilled to receive many questions and positive feedback.

Since then, I have given over 15 lectures in Moscow, Saint-Petersburg, and Minsk. I later had the idea to launch an online education platform and was excited to have more than 70 students in my individual online courses.

I have always considered lecturing and sharing my knowledge as an important and meaningful aspect of my photography. It's a great tool to review your path and structure your photography experiences.

Preparations for my lectures usually take several weeks. I feel a sense of responsibility to the people who pay to attend my lectures. To be effective and valuable, I strive to stay true, open, and sincere.

There are many great lectures on photography available online, from respected photographers and educators. Here are a few examples:

1. TED Talks: The TED Talks platform has a number of lectures on photography, including talks by photographers such as David Griffin, Frans Lanting, and Camille Seaman.
   
   
2. Magnum Photos: The Magnum Photos agency has a "Magnum Learn" section on its website, which features lectures and workshops on photography by Magnum photographers and other experts.
   
   
3. The Art of Photography: The Art of Photography is a popular YouTube channel that features lectures, reviews, and tutorials on photography, presented by photographer Ted Forbes.
   
   
4. CreativeLive: CreativeLive is an online education platform that offers a wide range of courses and workshops on photography, including lectures by renowned photographers such as Annie Leibovitz, Zack Arias, and Joe McNally.
   
   

In 2014 I had an exhibition at ArtPlay in Moscow, and it turned out to be a great success. Many people came to see it, and we received excellent feedback and positive reviews.

A few months later, I received a call from the organizers who had an idea to exhibit the work of one of the most famous photographers ever, Elliott Erwitt, in Moscow the following year. They asked if I was interested in curating the event.

However, I had already moved to NYC and didn't have any plans to return to Russia anytime soon. Besides, I had never curated an exhibition before, let alone one featuring the work of one of the most famous photographers ever. It was a significant challenge.

I took some time to think about it, and in the end, I decided to accept their offer. I had nothing to lose, and I could gain valuable experience in organizing big events, meet representatives from Magnum agency, and even potentially meet with Elliott Erwitt in NYC.

A few weeks later, I sent a detailed concept and shared my vision for the upcoming event with my partners. They approved it and gave me carte blanche.

Over the next few months, I was heavily involved in preparing for the upcoming exhibition. Despite not having much experience in curating exhibitions for other photographers, I had a fantastic, supportive, and engaged team to assist me. We were open to experimentation and didn't have any boundaries or constraints to conform to, which made the process enjoyable and fun.

I was fortunate enough to meet Elliott Erwitt for an interview at his apartment in Central Park, New York. It was an excellent opportunity to meet him in person, see his home and studio, and go through his archives while asking him some questions about photography.

As the curator, I was responsible for all aspects of art direction, including banners, ads, the exhibition opening, and public relations. I applied some tricks and methods from my previous exhibitions in Minsk and Moscow, including creating a short cartoon about Elliott Erwitt's artistic life with my team.

One month before the opening, I flew to Moscow to oversee the construction work. As one of the founders of the legendary Magnum Agency, Elliott Erwitt's representatives and agents came to Moscow to help our team with the final steps.

We spent many hours hanging the photographs on the walls, which is the most critical part of any exhibition. With approximately 150 photographs, we were all looking for the best way to highlight and reveal his genius art.

We organized a big Vernissage party with the press, celebrities, critics, and many photography lovers for the opening. In the end, the exhibition was a resounding success.

As an independent photographer looking to grow your career, taking photos is just one part of the job. You also need to be a marketer, salesperson, negotiator, accountant, and more, depending on the day. Photography agencies and agents can help with those roles. But they're not just hired help, they're partners. You bring the talent, and they bring the business expertise, and if everything goes well, everyone benefits.

It's about having a partnership where you both need each other. You have to be a valuable asset to your agency, and they should be a good investment for you as well. As a photographer, you have to provide your agency with photos to market. They can help take your career to the next level, but you need to help them too. Working together is the key to achieving mutual success.

____

What agencies do?

• Develop connections with clients
• Present their pool of photographers to clients
• Advertise and market their photographers using various mediums such as emails, mailers, and ads
• Negotiate contracts and rates
• Handle billing and other administrative tasks
• Assist in arranging shoot production details and rentals
• Offer career advice and guidance to photographers.

As an independent photographer looking to grow your career, taking photos is just one part of the job. You also need to be a marketer, salesperson, negotiator, accountant, and more, depending on the day. Photography agencies and agents can help with those roles. But they're not just hired help, they're partners. You bring the talent, and they bring the business expertise, and if everything goes well, everyone benefits.

It's about having a partnership where you both need each other. You have to be a valuable asset to your agency, and they should be a good investment for you as well. As a photographer, you have to provide your agency with photos to market. They can help take your career to the next level, but you need to help them too. Working together is the key to achieving mutual success.

____

What agencies do?

• Develop connections with clients
• Present their pool of photographers to clients
• Advertise and market their photographers using various mediums such as emails, mailers, and ads
• Negotiate contracts and rates
• Handle billing and other administrative tasks
• Assist in arranging shoot production details and rentals
• Offer career advice and guidance to photographers.

I met Katya once in Paris and then she talked to her boss at Factory311, London.

Hi Jurij,

Our director Nick asked me to write to you and ask if you would be willing to be our photographer. If you agree, we would like you to put together a collection of your photographs that can be sold and published, and send us everything you find, and we will post it on our website (IMAGE LICENSING) and start OFFERING YOU TO MAGAZINES!!! :)
___

Hey Jurij,

Jonathan here from FACTORY311!
Katya introduced us to your work, and we were very impressed. We would love to have a chat over skype and see more of your collection if possible? Have a great weekend, and I look forward to hearing back from you.

Kind regards...

___

We discussed and selected images for my portfolio. I agreed to a six-month contract with the agency and expressed my desire to meet them in person in London. In the meantime, they arranged a photo shoot with a music band, giving me another reason to visit London for the first time ever.

Although we weren't able to sell my photographs to any magazines in the end, the experience was valuable and it marked just the beginning of my career.

In 2014, I met Vincent at a dinner party through a mutual friend. We talked about many things, including photography, and I showed him some of my photographs. Vincent had a production company and several photo studios in Paris, and he was impressed by my work.

He invited me to visit his studio and told me I could use any of his studios for personal work if I needed a place to shoot. One of his studios was in a historic building near my place and had high ceilings and was fully equipped. I did a few shoots there, and we spent a lot of time together, becoming good friends.

Shortly before I moved to NYC, Vincent decided to launch an agency that would represent artists such as photographers, stylists, and hair and makeup artists. He invited me to join the agency, and I was thrilled to be a part of this exciting project. Finally, I had an agency that could help me advance my photography and take me to the next level.

Vincent's partner, Nico, who is a casting director, helped me a lot in organizing my photography and building my professional portfolio to show future clients. Nico also helped me organize several meetings with agencies that represent stylists. It was essential to showcase my work, receive feedback, and make new connections and get new clients.

Our goal was to get me more work with magazines and push my photography, and the next step was to get more commercial work, campaigns, and look-books. I received a lot of feedback from professionals in the fashion industry and learned a lot about how things work.

We organized a few photo shoots for magazines, such as Interview Russia and Lui France, and also did some commercial work before I left for NYC. We had a lot of fun working together in Vincent's studio, and the agency team was always helpful.

Originally, I was supposed to come back to Paris in two months, but I ended up staying in NYC for almost three years, and ArtBoard didn't have an office there. For a healthy and productive collaboration between a photographer and an agency, it's essential to be based in the same city. They need to organize meetings with potential clients and work together to build your career.

So, for the next two years, we kept our friendly relationship and collaborated on projects like a big shoot for Flair Magazine in L.A. Meanwhile, the agency was growing stronger and bringing new artists and agents onboard.

In NYC, I received some requests from other agencies and had several meetings with their management about representation. I needed an agency in the city where I was living.

When I moved back to Europe, I spent a lot of time in Paris and tried to revive our collaboration with ArtBoard. We organized exciting photo shoots for Zadig&Voltaire and did a big commercial project for BlueForet. We also shot some editorials for fashion magazines, but not as many as we expected.

In the end, we couldn't find a way to make me work for their clients and adapt my specific style to new commercial and editorial clients. We decided to stop our collaboration but remained good friends.

Networking and meeting new people every day and night is an essential part of life in NYC. It's crucial to showcase your work, get feedback, and move forward.

One day, I met with the Walter Schupfer agency, one of the most famous and largest agencies representing photographers. They gave me feedback on my photography and said that I needed to concentrate on one style and become the best in that chosen field. They advised me to avoid trying new styles and techniques, but I couldn't bring myself to do that. My curiosity always led me to try new things, and over time, I developed my own voice and transformed it in an authentic way.

Another agency sent my work to some of their clients to gauge their interest, but not much came of it, partly because I didn't have a working visa, and it was risky to invest in a relatively unknown photographer with no commercial clients who mostly shot in black and white and had a provocative style.

Later, I met with another big agent, Andre Werther, and we discussed my work for hours over coffee. He gave me significant advice and tips and suggested that I stop by his office next time I was in Paris. I sent him my new work and was excited about the possibility of working with a big international agency. However, months later, my dream to be represented by them was shattered when Andre changed his mind, and the agency wasn't ready to take on another photographer.

I also had an opportunity to work with Pier59 Studios in NYC, who opened their own talent agency. I set up an appointment and was thrilled about the possibility of working with such a big and well-known company. However, a few months later, they changed their plans and decided not to represent photographers, instead focusing on make-up, hair, and stylists.

Industry is a representation agency created on the base of pier59.

Pier59 is a photography and video studio complex located in New York City's Chelsea neighborhood. It is one of the largest photography studios in the city, spanning over 110,000 square feet with multiple studios, production offices, and support spaces.
___

Below you will find 2 emails from the agency and their interest in working together and then the email few weeks later after our meeting at their office.
____

Hello Jurij,

I was just on a call with Alex at Le Book. He and I were discussing the NYC show and some of our favorite photographers. I mentioned your name because here at The Industry MGMT we find your work fascinating.

We are interested in the direction of your work, your motion direction, and as the agency director I extend an open invitation to discuss.

I could not tell from your website if you have representation in the United States.

I'm sure you know our reputation at Pier59 Studios in New York as the premier place for fashion photography home of the best photographers in the world. We are proud in what we have built and continue to build.

Additionally, I'd like to mention, speaking of Le Book, that we will be represented at the NY show in June— to a wide array of creative directors by the best photo industry professionals I know.

We're setting up for our promotional materials on Monday and now might be a fortuitous time to find out more about our rapid growth in New York City if that is of interest to you.

Our agency will be in the Los Angeles show in January—but the New York show is the one to start at in this game. Maybe there is a way we can start things rolling. : )

I can be reached on my cell at 212-858-0666 if you'd like to discuss.

Whether you seek representation or not, it would be my professional pleasure to get to know you and your craft better as I feel it is among the best in this industry.

Have a great weekend.

Ciao,
J.

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We had our meeting with J. at the offices of pier59, where I was also introduced to Boda, the primary booker for the photography department at the agency. Boda and I had previously met when I initially arrived in New York City, as he had been working for another photography agency at the time.

During our meeting, Boda and I had a candid conversation about the agency and my prospects for the future.

At that time, I was not particularly keen on being represented by them, given that I already had an agency in Paris and several others had expressed interest in representing me. Instead, I simply wanted to see what they could offer. As a relatively new agency on the market, I knew that they needed some time to establish themselves first.
___

Jurij,

How are you? I'm so glad we met a couple of weeks ago. As you might have guessed, as director of the agency I like to give those under me the full capacity to build their team and manage resources. I understand after talking to Boda that for his small team of three it may be that we are fully stocked with talent.

That being said, I am a fan of your work and I would like to stay in touch. From time to time other agency directors reach out to me requesting the latest and greatest photography that is up and coming and I would be pleased to introduce you into those channels.

I believe in your work and want to see it further.

Warm regards,
J.

In Moscow, there were several representations available for photographers, but Vitals was one of the most popular and desirable. I had dreamed of being represented by them for a long time, and many of my photographer friends were already signed with them.

During my visits to Moscow, I would always send an email to Vitals in the hopes of scheduling a meeting with them. It took years before we finally had the opportunity to meet and discuss a potential collaboration. By then, I had a strong portfolio from my work in Paris, Moscow, and New York City.

My goal was to take my career to the next level with an agency that could support me in finding new clients, producing shoots, and developing my presence in Russia. While I had already established myself in Moscow and worked with several magazines, I hoped that working with Vitals would help me secure more commercial clients and gain a better understanding of what it meant to have agency representation.

Fortunately, a friend of mine had become a producer at Vitals and arranged a meeting with the director. Although they were aware of my work and interest in their agency, they were initially unsure about how we could work together since I was frequently out of Moscow. After discussing the available options, we decided to start working together and see how things progressed. Before I left for New York City, we were able to organize some shoots for top fashion magazines.

photo reps:

www.models.com/agencies/PhotoRep

extras:
- Le Book is a global network and resource that offers exposure to companies and members of the creative community. The company operates three offices in three countries producing five sets of books annually that are internationally distributed.
www.lebook.com

- The Modem editions are the working tool and source of professional information dedicated to those who operate in the fields of fashion and design.
www.modemonline.com

- A collaborative platform that links the international photography community; World-class artists / photographers, galleries, dealers, & publishers.
www.photola.com

Paris Photo brings together up to 200 exhibitors from across the world, offering collectors and enthusiasts the most diverse and qualitative presentation of photography-driven projects today.
www.parisphoto.com

articles:
apanational.org/news/entry/looking-for-representation-read-this-first/
productionparadise.com/blog/must-have-photographer-features-advices-for-young-photographers-and-more-photo-agent-angela-woods-interview/

Subject: Inquiry about Representation

Dear [Agency Name],

I am a photographer based in [City, Country], with extensive experience in [genre/style of photography]. I am interested in the possibility of being represented by your agency and joining your roster of talented photographers.

My portfolio includes a variety of work, ranging from [briefly describe your photography style and techniques]. I am passionate about capturing visually striking and memorable images that communicate a message or emotion to the viewer.

I am reaching out to inquire about the possibility of representation by your agency. I would love to discuss the process and requirements for representation and see if there is a potential for us to work together.

Please let me know if you would be interested in reviewing my portfolio or any additional information about me or my work. I have attached a selection of my images to this email for your reference.

Thank you for your time and consideration. I look forward to hearing from you.

Best regards, [Your Name]


___

another example:

Subject: Seeking Representation from [Agency Name]

Dear [Agency Name] Team,

I hope this message finds you well. My name is [Your Name], and I am a professional photographer based in [Your City/Country]. I have been following [Agency Name] for some time now and have been impressed with the work your agency has been producing.

I am writing to inquire about the possibility of representation from [Agency Name]. I believe that my photographic style and vision align with the kind of work your agency produces, and I would be honored to have the opportunity to collaborate with your team.

I have attached a link to my online portfolio, which showcases my recent work. [Insert link to portfolio]. My portfolio includes a range of genres, from editorial to commercial and portrait photography.

Please let me know if you would be interested in learning more about my work and if there is a possibility of setting up a meeting or call to discuss representation further.

Thank you for your time and consideration. I look forward to hearing back from you.

Best regards, [Your Name]

In more casual terms, photo agencies want photographers who can deliver great pictures that showcase their unique vision and skills. They also want photographers who know their audience and can create images that connect with them.

Photo agencies expect photographers to be professional, meet deadlines, communicate well, and follow licensing and copyright rules. They also value photographers who are open to feedback and can work with others in the industry.

In short, photo agencies want to work with photographers who have a strong vision, work hard, and produce marketable pictures.

___

1. Art + Commerce: Founded in 1987, this agency represents some of the most famous fashion photographers in the industry, including Steven Meisel, Craig McDean, and Patrick Demarchelier.
2. Management Artists: This agency represents top fashion photographers, including David Sims, Sølve Sundsbø, and Mario Sorrenti.
3. CLM: This agency represents some of the most innovative and experimental fashion photographers, including Tim Walker, Nadav Kander, and Erik Madigan Heck.
4. Streeters: This agency represents photographers, stylists, and other creatives in the fashion industry. Their photography roster includes some of the most talented and sought-after names in the business, such as Inez and Vinoodh, Daniel Jackson, and Harley Weir.
   
   These agencies are known for their impressive rosters of talented photographers and their ability to connect photographers with top clients in the fashion industry.

for more
https://models.com/agencies/

For most photographers, getting an agent is a smart business move that can take a career to new places. Along with access to new clients and help with the business tasks many photographs dread, entering into a photographer-agent relationship means you're part of a team rather than going it alone. When you're ready find one for yourself, take the time to research your options and meet with as many reps as possible to find an agent you trust and feel comfortable with. With mutual respect and hard work on both sides, you'll hopefully enjoy many fruitful years as your career grows


How do you find new photographers?

We get 50 to 100 submissions per week.We get 50 to 100 submissions per week.
Include images in the body of the email so that when we open it we look straight away
The more traditional routes are still open in terms of photographers that have assisted other photographers and people that we've worked with here or people that we know within the industry. We know if someone has gone down the assisting route that they're going to have a great technical knowledge. They understand the business in terms of what's needed on set and how to handle professional relationships

How much experience do you look for when considering new photographers?

We look at the apprenticeship phase of the photographer in the range of five to 10 years.
That amount of time investment in learning and understanding the industry puts you in good stead to be able to have a career that spans a lifetime.

What are some other qualities you're looking for?

People who are good team players and have the confidence to be able to direct. Taking images is 25 percent of the job. Handling the relationships with people, dialogue with other creatives, working with production in terms TIPS TO GETTING A PHOTO REP 26 II III I © Guy Aroch / Coca Cola of being able to problem-solve—those elements cannot be underestimated. That's all part of the development work that we do with artists that we take on.

What is your vetting and interviewing process like?

The analogy we use is, this is a marriage. You wouldn't necessarily get married after the first date. You'll want to develop a relationship that's built on trust and honesty and transparency. Getting to know each other means that we'll have multiple meetings, then start to get a handle on people's ability to deliver professionally and maintain relationships with people we're going to introduce them to. Often we'll set up do meetings for the prospective talent with industry leaders that we really trust and respect. Then we would ask the clients for their feedback and thoughts. You're looking at three to six months before you would make the leap and say let's do this.

Any other tips for getting an agent's attention once the conversation has started?

The most important thing I would say is to take pictures every day. We might sit down and have meeting with someone and say, "Your work is coming along great; let's get together again in a few months." If that photographer comes and shows us the same work again, it's doubtful our opinion will have changed that much since the last time we spoke. Seeing the way people are thinking about imagery is really instructive to us.

Once you do ask someone to come on board, what happens next?

The process means getting the work ready to be able to take it to market. What can be confusing for photographers, especially ones that have a background in fine art, is the idea that we are a business so we're going to be looking at ways to grow a photographer's business by monetizing what they do. You want them to be hired by people so they can actually make revenue and are able to reinvest in what they are doing. Maybe they need to buy new technical equipment or maybe they need to do additional testing or editorials that need to be self-financed. We educate our talent so they understand that part of the process—that what you make should be reinvested in your future. Even if you're able to start working quickly, you really have to think about how you're going to reinvest into your work so you can keep attracting new clients.

What types of goals do you set with your photographers?

The key to this industry is getting repeat business so that as you build a relationship with clients you have the ability to work with them for months or years. That's what we're trying to instill. So much of that has to do with the relationship you have with the client and the creatives and being able to be a team player. It's as simple as being courteous. If you're not able to work in a professional way then your career won't last two minutes. That's something that can be very difficult for creative photographers to grasp because the integrity of their work is obviously very important. We definitely welcome people who have very strong creative opinions, and part of our job is to give the photographer the freedom to operate but also for the client to feel as though they've been accommodated as well. I ultimately want the images to do their job, which is to grow the client's business

What are some of the learning curves for your new photographers?

The hardest thing to deal with is actually success. They may get a great editorial opportunity or a fantastic advertising campaign, and it might come very early in their career. If they haven't gone through and made some mistakes, things can be a problem. That's when it becomes difficult to control your ego or get a realistic grasp of what this industry is about, which it's about a lot of hard work. And, of course, the very hardest thing is if your work isn't being accepted. If an agent finds you and they really believe in you, and then for people not to hire you, that can be a very difficult point. In all of those areas, it's important to know that there are ways to work through everything. There are many different peaks and troughs in any photographer's career. If you've not had the success at the beginning, it's not time then to throw back the camera and say this isn't going to work. There's a way of examining what the issues are and really listening to people and to yourself in terms of what your convictions are and what kind of work you want to do. What's difficult is if an agency has a certain idea of where a talent should be headed, and then the talent has their own idea of the kind of work they want to do, but they're not TIPS TO GETTING A PHOTO REP 28 II III I © Bjorn Iooss / CR Fashion Book producing the kind of work that is going to get them to their goal. There's always this constant tug between the art and the commerce of the industry and trying to strike that balance is one of the major things in terms of career management.

What do you do in terms of marketing your photographers?

All of that kind of promotion would be coming from us. If you're represented by an agency, that's one of the things your agency should do for you is really working on the marketing and promotion of your work. Own agency website has become the main way clients will look at work from us. We work a lot with our own internal promotions and have a graphic design team that is set up to showcase imagery and to make things look more crafted toward a particular client or a particular need that they have. Also with photographers now having their own Instagrams or websites, we really work together in terms of how we're communicating about their work. Somebody's Instagram may be very personal, and that allows clients to get a real grasp of who this person is. Others use their Instagram as a showcase for their work. That can be a great way for clients to get an overall picture. We talk to our talent about their Instagram feed and what they're putting out there. There is a certain curation process that goes on with everything that goes out into the world.

What do your contracts typically stipulate?

Contracts used to be extremely heavy in terms of restrictions. I've worked at a number of agencies, and there's always a fear for an agency thinking they need to tie down a talent with them. Our philosophy is definitely a lot more free in the sense that we really want to have a great relationship with people. There aren't any handcuffs attached to our contract. If we're happy working together, let's work together. If there's an issue or problem and we're not going to work together any more, so be it.
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Source: photoshelter.com

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.

Few days after arriving in NYC, I scheduled appointments with all the major model agencies in town. I was curious to know their thoughts on my work and my prospects in NYC.

My friends who were bookers in Paris helped me organize my first meetings with their colleagues in NYC. My model tests were already well-known among agencies, as many models I shot in Paris were based in NYC, and the agencies would use our photographs for their books.

To my delight, I was received very well. Most agencies were excited and interested in working with me. I would get models from the main board and also get paid very well.

Some agencies even sent me models who were doing Victoria's Secret shows. They needed strong images for their portfolios, and I was the right person for the job. I knew how to make powerful portraits and great body shots.

The femme fatale style that I brought from Paris was in demand and set me apart from most photographers based in NYC.

I started working with the best agencies in town, including The Society, The Lions, IMG, Next, DNA, One, and Elite.

After arriving in NYC from Paris, I quickly connected with many French friends and their acquaintances who had already moved to the city before me.

While searching for indoor locations to shoot, one of my friends suggested his spacious triplex in Chelsea, which boasted three floors, plenty of daylight, modern furnishings, and a rooftop with a breathtaking view of the city. I organized over seven shoots in this ideal location.

Every day, I met new people and was unafraid to ask for access to their venues for photoshoots. For instance, I gained entry to a Lower East Side rooftop for a shoot with Victoria's Secret models. Additionally, I used some of my Airbnb apartments as shoot locations.

I felt like a newborn baby; I was eager to seize every opportunity and explore different possibilities for creating new images and gaining fresh experiences.

Before long, I was shooting almost every day, doing many model tests, and working on personal projects. The dynamic and energetic tempo of NYC made me feel like I was inhaling pure oxygen and fueled my productivity, creativity, and effectiveness.

I had access to many wonderful indoor and outdoor locations, and was receiving fantastic packages with models for my shoots. I also had the opportunity to meet many talented creatives and each day, I learned more about NYC.

I was thrilled with the outcomes of my initial shoots in NYC, and it motivated me to continue pushing forward with my photography.

My first six weeks in NYC were filled with excitement and productivity. I was able to organize numerous successful photoshoots, resulting in fantastic photographs. During this time, I fell in love with a girl named Anya who was based in NYC, and I couldn't imagine being without her.

When I returned to Europe in June, all I wanted was to move back to NYC. It took some time to renew my visa and complete necessary paperwork, but I was determined to embark on this new and exciting adventure. I trusted my gut and intuition, feeling ready for the challenge ahead.

However, as time went on, my approach to the city became less romantic and more realistic. The intense pressure to succeed began to take a toll on me, and I often felt depressed. NYC is a place where the goal is to change the world, where you are expected to work hard every day. On days when I wasn't shooting, I felt a sense of worthlessness.

After spending nearly six months in the USA, 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.

I played around with the scanner at the studio and had some fun experimenting with the images. It's cool to get creative and try new things. Gotta keep pushing beyond just being a photographer these days!

Sante D'Orazio is a legendary photographer whose work is bound to surprise you. You can find his work on https://santedorazio.tumblr.com/ and by googling his name.

His book was my main inspiration for my very first photo shoot, back when his energy, sexiness, and rock 'n' roll style was fresh and exciting. There was so much joy and life in his work.

During a visit to his studio in New Jersey in January, he shared spectacular stories behind the scenes while showing me around. He's not only a great artist but also a fantastic storyteller. I was in awe and felt as though I was in a Martin Scorsese movie, surrounded by an American with Italian roots.

I asked him if I could take a photograph of him in his studio, capturing the beautiful play of light and shadows. A true gangster! He responded with a clever and powerful statement, saying that all his work and photographs are, in essence, his self-portraits as an artist.

I had visited L.A. twice before I finally decided to move there in January 2020.

My first visit was in 2017 for a photo shoot for a German magazine called Flair. The preparation and organization for the shoot took almost five weeks with my agency in Paris, ArtBoard. We shot at a beautiful house close to Malibu, and the quality of natural light in L.A. was fantastic. The colors and contrasts were so vibrant, bright, and strong, and I saw a lot of potential for myself and my photography in this city.

In 2019, after spending over 8 months in Moscow and Europe, I was looking for a new city to move and work in. L.A. was an unknown and mysterious city for me, but I saw it as an opportunity to start anew. I knew I would have to rebuild my network, scout for locations, meet new people, find a place to stay, and create a new identity for myself in this city.

Before moving to L.A., I visited NYC in December 2019 and spent almost six weeks there. However, not much was happening during that time, and I didn't feel as motivated by the city as I had expected. I quickly got stuck, so I decided to give L.A. a try. I packed my things, took a plane, and arrived in L.A. in January 2020, ready for a new adventure.

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.

The world of photography has taken me to many unique and exciting places. I've always been drawn to locations that sparked my curiosity and pushed me out of my comfort zone. I never allowed myself to stay in one place for too long, usually no more than two to three months.

One of the best things about photography is the people you meet and the relationships you develop. Through my work, I've made many new friends and have been able to experience life in a different way. Photography has given me the opportunity to truly live and explore the world around me.

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.

wanted to add captions to create a more cinematic vibe. It was a bit of an experiment, but I thought it could be cool.
___

Room 812. 36 square meters and the Square spreads its shoulders below.

Gray sky and birds patrolling the streets. It's getting cold and windy. People running in circles, cars driving crazy, lights explode in vitrines and cigarettes burning some holes in peoples souls. Closed windows, air conditioner dries me from inside. I am not nervous and it makes me nervous.

Nicolas Jaar breaks the silence with his voice. I start to move In his Rhythm. Tomorrow I am leaving to Paris. We shoot for 2 hours. Not much is said. I take some Polaroids and I make a collage out of it.

In the end a short movie with only one viewer and one narrator.

I am packing my lenses and my camera. She gets dressed. Coffee and some sweets on the table.

I left the keys inside. Door closed behind us. Elevator brings me to the reception.
I get the cab and leave to another hotel.
There is no end in this story for a stranger I am.