I often make my first selection directly during the shooting process, which is mainly based on intuition and emotion, and may lack the necessary objectivity in the context of the entire shoot.

However, not all of these marked photos will make it to the final selection. I treat the shots taken during the shoot as working material and drafts. By reviewing them, I can verify the composition of the photographs and the emotions of the model. Everything else comes after during post-production.

During commercial shoots, photos are often displayed on a screen to the team or client. However, photos on the camera and computer screen can look and be perceived differently.

Pros: You have the entire process under control, and showing images works as confirmation that everything is going according to plan. You and your team can quickly notice and fix any mistakes.

Cons: You can lose the dynamic of the shoot and the magic of the process itself and get caught up in comments and opinions from the team and clients. It's important to determine which team members will participate in the review and selection process.

After a photo shoot, I like to take a break for a few days before making the final photo selection. This allows me to be more objective and less emotionally attached to the images. The selection process can be energy-intensive, so it's important to create a distraction-free environment where you can focus and enjoy the process.

I begin by going through all the photos and tagging the ones that I like without questioning why. I trust my initial impressions and use them to get an overall sense of the shoot.

Next, I remove any technically flawed images and gradually narrow down the selection to a reasonable number. Throughout the process, I pay attention to how the story or editorial is evolving and adjust accordingly.

When selecting, I use Lightroom's compare tool to see how images interact with each other and make better decisions based on a side-by-side comparison.

When selecting images and creating a layout for a magazine, it's important to consider how photos will look as double-page spreads in editorials and how they interact with each other. There are no strict rules, so trust your intuition.

In editorials, photos must align with the overall story. It doesn't matter how much you personally like a particular photo or have an emotional attachment to it. If it doesn't fit the story, don't force it. Otherwise, it could stick out and make the rest of the story seem strange.

Don't overdo the selection, editing, or final layout. Every time you redo the selection, you'll pick different images. In the past, fashion magazines lasted a month or more, but now they're often digital, so keep moving forward.

When submitting to a magazine, send no more than 3-4 frames from each look to choose. Don't submit anything you don't like. Remember that brevity is the soul of wit.

In some cases, I send layout ideas to the magazine or the art director.

If I feel stuck or overwhelmed, I ask others for advice or feedback. Getting a fresh perspective can help bring new ideas and clarity to the selection process.

I had the opportunity to take backstage images during a shoot for a magazine Allure, with fashion photographer Giampaolo Segura. The shoot was taking place in one of the best studios in Paris, and I was excited to not only take backstage images but also learn from his team and observe how they work.

Giampaolo's team consisted of around 7-8 people in total. They spent about two hours setting up a very complicated stage while the makeup and hair artists worked on the model. The stylist and her assistant prepared the looks for the shoot. It was very professional and inspiring to see everything coming together. As I watched, I imagined myself becoming a photographer who shoots cover stories for magazines.

When the model was ready and dressed, she came to the stage where the whole team was waiting. However, the difficult lighting scheme brought very poor results, and the images looked like they were shot on a phone. With little time left and a cover story to shoot, the fashion editor became very nervous. Giampaolo calmly decided to change the whole stage and use only one strobe with a big beauty dish to take all the images. He stayed in control, and the resulting images were bright, juicy, and exactly what the fashion editor was expecting.

In about an hour, they shot all the images. It was not only important for me to observe how top professionals work, but also how they solve problems on the set and still achieve amazing results.

Layout design plays a crucial role in creating an effective and visually appealing design. It's all about organizing and positioning the visual elements in a way that gives meaning to the design. When done right, it can create balance from one page to the next or from one slide to the other.

One of the most important principles of layout design is the Rule of Thirds, which involves dividing an image into thirds both horizontally and vertically to create more visual interest. The Golden Ratio is another principle, where the ratio of two quantities is the same as the ratio of their sum to the larger of the two quantities. It is said to create the most visually appealing layout.

Composite Grids is another technique used in layout design, which involves dividing a page or slide into a grid and using it to place the visual elements. This technique can help maintain balance and consistency in the design.

Overall, the way visual elements are positioned and organized can greatly impact the effectiveness and appeal of a design. It's important to consider layout design principles to create an impactful and visually appealing design

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Art directors and graphic designers play a crucial role in defining the layout of fashion magazines. They are responsible for the overall visual style and aesthetic of the publication, from selecting the fonts and color schemes to determining the placement of images and text. By working closely with the photographers, stylists, and other creative professionals, art directors help bring the vision of the magazine to life, ensuring that every page looks stunning and visually engaging.

In addition to defining the layout, art directors also collaborate with the editorial team to ensure that the content of the magazine is presented in a clear and concise manner. They often work with writers and editors to determine the best way to visually represent the stories and articles, ensuring that the message is communicated effectively to the reader.

Overall, the role of the art director is essential in creating a successful fashion magazine. Their expertise and vision help shape the publication into a work of art that captivates and inspires readers.

Matt Willey
Milton Glaser
David Carson
Stefan Sagmeister
George Lois
Erik Marinovich
Chip Kidd
Rob Janoff
Peter Saville
Michael Bierut
Massimo Vignelli
Gabby Lord

For many creative artists, their work is more than just a product, it can be deeply personal and reflective of their own personalities. As a photographer, I see my work as autobiographical, and looking back at my photographs is like looking at my own self-portraits. It's a concept I first heard from Sante D'Orazio in NYC and it's also reflected in a book about the life of Lucien Freud. Through my photography, I can explore and express my thoughts, feelings, and experiences.

In a way, photographs can reveal more about ourselves than even the models we shoot. When I look back at my work, I can see how my style has evolved and how different phases of my life are reflected in my images. My photographs serve as a visual diary of my life and my dreams, a reflection of my creative journey and my unique perspective on the world.

Developing the ability to reflect on oneself is crucial for anyone looking to grow and advance their talents. Introspection, or examining one's own thoughts and feelings, can be a powerful tool for personal development. By asking "what" questions rather than "why" questions, we can avoid getting trapped in our past and instead focus on creating a better future for ourselves.

This concept of "What, Not Why" has been instrumental in my own personal growth and has allowed me to develop a greater understanding of myself and my creative process. Through introspection and asking the right questions, we can become better artists and better people.

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These 10 questions are great ways to jumpstart self-reflection (Woronko, n.d.):

1. Am I using my time wisely?
2. Am I taking anything for granted?
3. Am I employing a healthy perspective?
4. Am I living true to myself?
5. Am I waking up in the morning ready to take on the day?
6. Am I thinking negative thoughts before I fall asleep?
7. Am I putting enough effort into my relationships?
8. Am I taking care of myself physically?
9. Am I letting matters that are out of my control stress me out?
10. Am I achieving the goals that I've set for myself?

The following 30 questions are questions you can ask yourself every day to get to know yourself better (William, n.d.):

1. Who am I, really?
2. What worries me most about the future?
3. If this were the last day of my life, would I have the same plans for today?
4. What am I really scared of?
5. Am I holding on to something I need to let go of?
6. If not now, then when?
7. What matters most in my life?
8. What am I doing about the things that matter most in my life?
9. Why do I matter?
10. Have I done anything lately that's worth remembering?
11. Have I made someone smile today?
12. What have I given up on?
13. When did I last push the boundaries of my comfort zone?
14. If I had to instill one piece of advice in a newborn baby, what advice would I give?
15. What small act of kindness was I once shown that I will never forget?
16. How will I live, knowing I will die?
17. What do I need to change about myself?
18. Is it more important to love or be loved?
19. How many of my friends would I trust with my life?
20. Who has had the greatest impact on my life?
21. Would I break the law to save a loved one?
22. Would I steal to feed a starving child?
23. What do I want most in life?
24. What is life asking of me?
25. Which is worse: failing or never trying?
26. If I try to fail and succeed, what have I done?
27. What's the one thing I'd like others to remember about me at the end of my life?
28. Does it really matter what others think about me?
29. To what degree have I actually controlled the course of my life?
30. When all is said and done, what will I have said more than I've done?

Finally, the following 30 prompts and questions are great ways to put your journal to use (Tartakovsky, 2014):

1. My favorite way to spend the day is . . .
2. If I could talk to my teenage self, the one thing I would say is . . .
3. The two moments I'll never forget in my life are . . . (Describe them in great detail, and what makes them so unforgettable.)
4. Make a list of 30 things that make you smile.
5. "Write about a moment experienced through your body. Making love, making breakfast, going to a party, having a fight, an experience you've had or you imagine for your character. Leave out thought and emotion, and let all information be conveyed through the body and senses."
6. The words I'd like to live by are . . .
7. I couldn't imagine living without . . .
8. When I'm in pain—physical or emotional—the kindest thing I can do for myself is . . .
9. Make a list of the people in your life who genuinely support you, and whom you can genuinely trust. Then, make time to hang out with them.
10. What does unconditional love look like for you?
11. What things would you do if you loved yourself unconditionally? How can you act on these things, even if you're not yet able to love yourself unconditionally?
12. I really wish others knew this about me . . .
13. Name what is enough for you.
14. If my body could talk, it would say . . .
15. Name a compassionate way you've supported a friend recently. Then, write down how you can do the same for yourself.
16. What do you love about life?
17. What always brings tears to your eyes? (As Paulo Coelho has said, "Tears are words that need to be written.")
18. Write about a time when your work felt real, necessary and satisfying to you, whether the work was paid or unpaid, professional or domestic, physical or mental.
19. Write about your first love—whether it's a person, place or thing.
20. Using 10 words, describe yourself.
21. What's surprised you the most about your life or life in general?
22. What can you learn from your biggest mistakes?
23. I feel most energized when . . .
24. "Write a list of questions to which you urgently need answers."
25. Make a list of everything that inspires you—whether books, websites, quotes, people, paintings, stores, or stars in the sky.
26. What's one topic you need to learn more about to help you live a more fulfilling life? (Then, follow through and learn more about that topic.)
27. I feel happiest in my skin when . . .
28. Make a list of everything you'd like to say no to.
29. Make a list of everything you'd like to say yes to.
30. Write the words you need to hear.

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It took me many years to realize that I needed a clear archive structure. Firstly, it saves time when searching for a particular shoot or image. Secondly, it's important to regularly review and analyze your work for self-introspection and to track the progression of your photography. It's easy to lose perspective and focus on achieving goals without looking back. Archives serve as a reminder of what has already been accomplished and can inspire ideas for new ventures.

I find myself more excited about trying something new rather than dwelling on past work. Lastly, it's crucial to have backups for your archives. Hard drives can be lost, stolen, or damaged, and it's a painful experience to lose your work.

Initially, I never aspired to be a professional retoucher spending hours in front of a screen editing images. I was more interested in taking photographs.

At the start of my career, I invested some time learning basic retouching skills, with the aim of acquiring simple techniques that are both effective and time-efficient.

For larger commercial shoots, I always include a professional retoucher in the budget estimate. Otherwise, I would spend countless hours attempting to perfect clothing and other details to satisfy the client. It's best to leave such work to the professionals.

However, for my personal projects, I usually handle the retouching myself. It takes me around 10-15 minutes per image, sometimes even less. The process is meditative for me, and I enjoy it a lot.

I prefer to retain control of the process and maintain my own deadlines.

When it comes to retouching skin in my photographs, I find the patch tool to be a highly effective and efficient tool. It allows me to maintain the structure of the skin while removing any imperfections or blemishes, saving me a lot of time in the editing process. The patch tool allows me to select a specific area of the skin and then drag and drop it onto a clean area, blending it seamlessly with the surrounding skin. This tool is particularly useful for removing small marks, stray hairs, and other minor imperfections in the skin without having to resort to more extensive retouching techniques. Overall, the patch tool is a valuable tool in my editing process, allowing me to achieve a more polished and professional look in my photographs.

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The Patch Tool works in a way similar to the healing brush but rather than a brush, it works with a selection that you define.

You can use the patch tool itself to make the selection of the area that needs to be patched or removed. Then you drag the inside of the selection to an area of the image – such as clean skin – that can be used to patch over the original selection.

The tool allows you to preview what pixels will be cloned into your selection. Once you release the mouse, Photoshop analyzes both selections and merges them to heal the area.

The patch tool can also be used to soften the skin, lines, and wrinkles. After you make the patch, you'll fade the selection. This will open up a fade dialog for you to change the opacity of the patch. I normally keep the opacity pretty low, around 30% or so.

You do not want to completely eliminate the lines and shadows of the face because that would change the contour of the person's face.

The patch tool helps eliminate distracting elements in the skin while naturally smoothing and retaining texture quickly and easily.

I find the curves tool in Photoshop to be incredibly powerful and flexible. It allows me to transform my images by adjusting the brightness and contrast of the tonal range, giving me full control over the final look of my photographs. The tonal curves are particularly important, as they can mimic the unique character of different film types without having to retake the photograph.

While the levels tool proportionally changes all tones in the tonal range, the curves tool lets me choose which part of the tone scale to adjust. This makes it a much more precise tool for creating the exact look and feel I want in my images.

Grain can be a powerful tool in Photoshop when it comes to retouching skin. It can add texture and depth to an image, making the skin appear more natural and less airbrushed. By using grain sparingly and in the right areas, I can create a subtle and beautiful effect that enhances the overall quality of the photo. Additionally, using grain can be a great way to add an artistic touch to an image, giving it a vintage or filmic look. It's important to experiment with different levels of grain and to use it thoughtfully to achieve the desired effect. Overall, adding grain in Photoshop can be a valuable technique for photographers looking to create stunning and unique images.

The Liquify tool in Photoshop can be a highly useful yet controversial feature, especially when it comes to retouching the human body. With this tool, it's possible to make subtle modifications to a subject's body, such as slimming or bulking up, enlarging eyes, and more. However, it's important to use the tool carefully and in moderation, as overuse can result in obvious and unrealistic changes. Despite its reputation for body manipulation, the Liquify tool can be used to manipulate pixels in a variety of ways, making it a powerful tool for a range of editing needs.

Rotating an image can have a significant impact on the final product. It can change the composition and mood of a photograph, making it more dynamic and visually interesting. By rotating an image, you can highlight certain elements and add a sense of movement to the shot.

In my experience, rotating images can be particularly useful in portrait photography, where small adjustments to the angle of the head or body can make a big difference in the overall feel of the shot. Additionally, rotating images can be a powerful way to correct the alignment of buildings, horizons, and other elements in landscape photography.

In Adobe Photoshop, rotating images is a quick and easy process. Simply select the image you want to rotate and use the Transform tool to adjust the angle to your liking. With a few simple clicks, you can completely transform the look and feel of your photographs, creating dynamic and visually striking images that stand out from the crowd.

I prefer black and white photography because it has a certain timeless quality that can't be replicated by color images. Removing the distraction of color allows the viewer to focus on the composition, textures, shapes, and patterns in the photograph. It gives me more freedom to play with contrast, shadows, and highlights to create a more dramatic and emotional impact.

Black and white photography has a certain elegance and simplicity that I find very appealing, and it can evoke a sense of nostalgia and a connection to the past. Overall, black and white photography has a unique beauty and power that I find captivating and inspiring.

Cropping is a powerful tool in retouching photographs as it allows me to create a completely new composition that can better express the message and the emotion I am trying to convey. By cropping an image, I can remove any unnecessary or distracting elements and focus the viewer's attention on the most important part of the image. It allows me to emphasize specific details and create a stronger sense of balance and harmony.

However, it's important to use cropping intentionally and with care, as it can significantly change the meaning and impact of the original photograph. By cropping an image, I am essentially deciding what the viewer will see and how they will interpret the image. This responsibility requires a deep understanding of the message I am trying to convey and a sensitivity to the impact of each decision I make during the retouching process. Overall, the power of cropping lies in its ability to transform an image into a new and more powerful work of art that can communicate ideas and emotions in a profound way.

The rule of thirds is a guideline for composition in photography and other visual arts. The principle behind the rule is to divide the image into a grid of three horizontal and three vertical sections, creating nine equal parts. By placing key elements of the image along these lines and points, the composition can become more visually appealing and balanced.

The rule of thirds can also help draw the viewer's attention to the most important parts of the image and create a sense of motion or direction within the frame. While it is not a strict rule, many photographers and artists find the rule of thirds to be a useful tool for creating visually effective and compelling images.

There are several techniques that I can use to create more interesting and visually appealing images. One such technique is to lead the viewer's eyes to the subject using the rule of thirds. By dividing the image into thirds both horizontally and vertically, I can position the subject at one of the intersecting points, making the composition more balanced and dynamic.

Another technique that I use is leaving some space in the photo center. This creates a sense of tension and intrigue, drawing the viewer's attention to the subject and creating a sense of movement within the image.

To show an unusual perspective, I experiment with different angles and points of view. This allows me to capture the subject in a way that is unique and unexpected, creating a fresh and interesting image.

Creating a frame-like effect is another technique that I use to draw attention to the subject. This involves framing the subject with objects in the foreground or background, creating a sense of depth and dimensionality.

Finally, changing the photo orientation is another way to add visual interest to an image. By experimenting with vertical, horizontal, and diagonal orientations, I can create different moods and emotions in the image, adding variety and depth to my photography.

I believe that cropping is a powerful tool that can be used to tell a story in my photos. By cropping my images, I can leave out unnecessary details and focus on what's truly important. I also try not to always center my subject, and instead, experiment with different compositions that create a more interesting and dynamic visual effect.

When I crop my photos, I try to do so at eye level, which gives the viewer a more intimate and personal perspective. Additionally, when cropping faces, I leave some breathing room to avoid making the image feel too tight or cramped.

It's also important to pay attention to how I crop limbs in my images. I avoid cutting them off at the joint, which can create an awkward and unflattering effect. And I always make sure not to accidentally give my subject a bad haircut through careless cropping.

While it's not always necessary, I don't hesitate to crop for cosmetic reasons when it helps create a better final image. Overall, I believe that cropping is a key aspect of visual storytelling that can greatly enhance the impact of my photographs.

Elliott Erwitt, a well-known photographer, has a unique perspective on cropping photographs. He believes that cropping should be used as a tool to improve the composition of a photograph, not to create an entirely new image.

Erwitt argues that cropping can be used to eliminate distractions or to emphasize a particular element of the image. He advises that photographers should consider the purpose of the image and what they want to convey before making any cropping decisions.

Erwitt also emphasizes the importance of the original composition and encourages photographers to consider framing and composition during the initial shot. He believes that cropping should be a last resort and that the goal should be to capture the best image possible in-camera.

Overall, Erwitt views cropping as a valuable tool for improving the composition of a photograph, but emphasizes the importance of maintaining the integrity of the original image.

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Henri Cartier-Bresson was known for his strong views on the importance of capturing the "decisive moment" in photography, and he was famously opposed to the idea of cropping images. He believed that a photographer's job was to capture the moment as it occurred, without altering the image in any way.

In his book "The Mind's Eye," Cartier-Bresson writes, "To crop a photograph is to change its meaning, to impose a different order. The photographer's decision as to the moment of exposure dictates the content and form of the picture. It is the photographer's organic intuition that leads him to choose the elements that will form the picture, and to determine their relative positions."

Cartier-Bresson believed that cropping images was a form of manipulation, and that it compromised the integrity of the photograph. He felt that a photographer's job was to capture the world as it is, without imposing their own interpretation on the image. For Cartier-Bresson, the art of photography was in capturing the decisive moment, not in altering the image after the fact.

I believe that printing my work is an essential part of the creative process. Seeing my images in physical form allows me to fully appreciate and analyze the details and nuances that may be missed on a computer screen. It's also a great way to share my work with others and to create a tangible record of my artistic journey.

Printing allows me to see how the colors and tones of my images are translated onto paper, which can differ from what is displayed on a digital screen. It's important to ensure that my prints accurately reflect my vision, and I may need to make adjustments to the colors and contrast to achieve the desired result.

Furthermore, printing my work gives me the opportunity to curate a collection of my best images, which can be used for exhibitions, galleries, or even as a portfolio when meeting with potential clients. I can also experiment with different papers and printing techniques to further enhance the quality and impact of my images.

Overall, printing my work allows me to fully experience and share my creativity in a tangible and meaningful way, and I believe that it's an essential part of the photographic process.

it's important to consider the various avenues for your work to be seen. Some images may find their way into galleries or advertisements, while others may be featured in books or displayed online.

While creating meaningful art is important, it's also essential to consider the business aspect of photography. Researching the pricing of similar works and understanding the value of your own pieces is crucial. Even if online sales are slow, a well-crafted website can attract offline galleries that are interested in showcasing your work.

When seeking out galleries to work with, it's important to find an owner who is invested in your art and willing to provide financial backing for marketing and advertising efforts. And when it comes to promoting yourself and your work, it can be helpful to have a third-party advocate who can speak on your behalf to potential clients.

Ultimately, as a photographer, it's essential to find the balance between creating great art and building a successful career in the industry. By staying focused on both aspects and continually seeking out new opportunities to showcase your work, you can make a name for yourself and reach a wider audience.

Different papers can affect the brightness, contrast, color saturation, and texture of the image, giving me the opportunity to achieve different artistic effects.

For example, glossy paper can produce a sharp, vibrant image with high contrast and deep blacks. On the other hand, matte paper has a more subdued, elegant look with a lower contrast and soft, even lighting. Satin paper falls somewhere in between, offering a blend of gloss and matte properties.

Additionally, there are many specialty papers available with unique textures and finishes, such as canvas, metallic, and textured fine art paper. These papers can give my images a distinctive look and feel, making them stand out and grab the viewer's attention.

Overall, selecting the right paper is an important decision that can have a significant impact on the final outcome of my photographs. By understanding the different properties of each paper type and experimenting with different options, I can achieve the perfect look and feel for each of my images

I've come to appreciate the unique appeal of posters in promoting an idea, product or event to a large audience. They're designed to be eye-catching and informative, using both text and graphics to convey a message. And when it comes to creating posters, there are many options to consider, such as the size, color scheme, font, and overall design.

However, one important factor that is often overlooked is the choice of paper for printing the poster. The type of paper can significantly impact the final look and feel of the poster, from its texture and sheen to its durability and color accuracy. There are many different types of paper available, each with its own set of properties and advantages. Some are glossy, while others are matte or textured. Some are thick and durable, while others are thin and lightweight.

As a photographer, I always consider the paper when printing my photographs as it can enhance the overall aesthetic and mood of the image. Similarly, when creating a poster, choosing the right paper is just as important to achieve the desired effect. So, when creating a poster, take the time to research and experiment with different paper options to find the perfect fit for your design. And always consider factors such as quality, texture, and durability when making your final decision.

As a photographer, fine art prints are a crucial aspect of my work. They allowme to showcase my images in the most beautiful and impactful way possible, while also offering a unique value to collectors.

Limited editions, in particular, add an extra layer of exclusivity and value to my prints. By offering only a set number of prints, each one becomes a valuable and sought-after commodity, and collectors are willing to pay a premium price for them. This helps not only to increase the value of my work, but also to elevate my brand and reputation as a photographer.

Moreover, fine art prints offer a lasting legacy for my images, ensuring that they will be preserved and appreciated for years to come. They allow me to share my vision and creativity with a wider audience, while also offering a tangible reminder of the emotions and experiences captured in each photograph.

Overall, fine art prints and limited editions play a vital role in the image and public relations of a photographer, providing a unique and valuable product for collectors and a lasting legacy for the images they create.

I find that prints of my work can make great decorative additions to interior spaces. The unique and personal touch that a photograph provides can truly transform a room, giving it character and a sense of individuality.

Whether in the form of a large canvas, a series of framed prints, or a collection of smaller, more intimate pieces, photography prints can add depth and texture to a space, and serve as a focal point for the room's decor.

Moreover, investing in limited edition prints can add value to your space as well as to your personal collection. By supporting the art of photography and purchasing fine art prints, you not only add to your home's aesthetic appeal, but also become a patron of the arts and a supporter of the artist.

Overall, incorporating photography prints into your home decor is a creative and unique way to add a personal touch to your living space, while also supporting the art of photography and building a collection of valuable and unique pieces.

Polaroids hold a special place in the world of photography due to their unique characteristics and charm. Each polaroid is one-of-a-kind and there are no negatives cannot be replicated or reproduced, making them valuable and highly sought-after by collectors and enthusiasts. This is what makes them charming and fascinating.

The instant gratification of seeing the photo develop right before your eyes adds a sense of excitement and magic to the process of photography. Polaroids have a distinctive aesthetic, with their muted colors, soft focus, and imperfect edges, creating a vintage and timeless feel to the image.

Polaroids also have a sense of intimacy and authenticity, as they capture a moment in time without the ability for extensive retouching or manipulation. They freeze a moment in a way that is raw and unfiltered, providing a unique perspective on the world.

Many photographers choose to incorporate polaroids into their work, as they add a level of authenticity and uniqueness to their portfolio. They can also be used as a marketing tool to promote the photographer's brand and style, as they offer a distinctive look and feel that sets them apart from other photographers.

In summary, the value and uniqueness of polaroids in photography cannot be overstated. They offer a vintage and timeless aesthetic, a sense of authenticity and intimacy, and a one-of-a-kind quality that is highly prized by collectors and enthusiasts.

I am always looking for new ways to get my work out into the world and make it accessible to more people. That's why I've been exploring the idea of using postcards as a way to sell my photography at a more affordable price point.

While some collectors might be interested in owning a limited edition print, not everyone has the budget for that kind of investment. By offering postcards of my work, I can give people the chance to own a piece of my photography at a much lower cost.

But just because they're more affordable doesn't mean they're any less valuable. Each postcard features a high-quality print of one of my photographs, and I take care to choose images that will have a strong visual impact even on a smaller scale.

Plus, postcards are a great way to send a personal message or decorate a space. I've had people tell me that they've used my postcards to decorate their home or office, adding a unique and personal touch to their surroundings.

Overall, I believe that postcards are a great way to make my photography more accessible while still maintaining its value and uniqueness as a piece of art.

Printing your work can be a game-changer, and I highly recommend it. But why not take it a step further and create your own zine? A zine is a small self-published work that can be created by a single person or a small group. You can experiment with different paper types, sizes, and layouts to make it unique and fun.

It's not about how many copies you sell, it's about the process of creating something new and finding a different way to showcase your work. Plus, creating a zine allows you to reach a wider audience and share your creativity in a unique way.

The possibilities are endless, and you can let your creativity run wild without any boundaries. So, go ahead and make your own zine, and enjoy the process of creating something unique and special.

Blurb® is a self-publishing and marketing platform that unleashes the creative genius inside everyone. Blurb's platform makes it easy to design, publish, promote, and sell professional-quality printed books and ebooks.

https://www.blurb.com/magazine

In 2010, while in Paris, I purchased a new camera with a video recording feature. At the time, I was preparing for my first exhibition in Minsk and thought it would be a great idea to create short videos featuring models I had photographed. I believed it would add a level of interaction and excitement to the exhibition.

I would ask the models to pose and move in front of the camera without any specific ideas or scenarios in mind. I simply wanted to capture beauty in motion and create a dynamic contrast to the static photographs. The beauty of humans in motion fascinated me, and the potential to reveal new layers of beauty using moving images was intriguing, especially when coupled with the right music.

I sent the raw footage to a friend in Minsk, who edited the short videos into a longer one with special effects and music. The resulting video was presented at the exhibition, and it was well received by visitors. It made a profound impact on the show, making it more spectacular and engaging.

From that point on, I decided to continue creating more films. I acquired software and took online lessons on how to edit videos, realizing the potential that videos had to enhance my work as a photographer.

+ Video Interview

Lara Johnson Wheeler: What are the motivations behind making a fashion film?

Nick Knight: Fashion film is a very exciting new medium and seems to be taking over from fashion photography; it's fast becoming the best way of expressing fashion today. The best way to express a garment is to watch it in motion, the way it was designed to be seen.

L: It's becoming obvious that media outlets and retailers are increasingly using and creating fashion film. How do you feel about the growth of fashion film as a medium?

N: I think that's natural, that's what I thought would happen. We founded SHOWstudio in 2000 because I sensed the obvious need for a new way of communicating fashion for the internet and for the internet generation. The internet has replaced magazines and newspapers as the platform through which we experience imagery and we needed to communicate fashion in a way that is appreciative of this. Fashion film has become that medium.

Source

In 2018, during a visit to Paris, I was inspired by Dolphin's song "Я буду жить," which has a wild and dynamic energy. As a big fan of Dolphin's creative genius in the 90s and 00s, I had already filmed the singer twice in Moscow.

I decided to shoot Gabrielle from Oui Management for the video, as her charisma and personality were a perfect match for the music and lyrics. Filming a video is different from photography, as it involves acting as a director, screenwriter, director of photography, editor, light assistant, and more.

With so many details and nuances to consider, it requires full concentration to create a story using small bricks and scenes that make sense in the final edit. The editing process can take days and nights, even for a 40-second video.

We started filming in the stylist's hotel room and around the hotel, taking around 2 hours to shoot everything. Most of the ideas were spontaneous, and I let my intuition guide me.

Enjoy the video at vimeo.com/264389471.

I created a visual story with a sensual and daring theme, titled "A Sensual Dance with the Devil". For this project, I traveled to Paris to capture a ballet of reflections and shades, accompanied by electrifying music. The concept revolved around the fashion brand Zadig and Voltaire, with a strong and poetic femme fatale as the lead character.

In the story, the character embodies a combination of strength and sensitivity, along with a touch of rebellion. The outfits she wears are absolutely bold, and the boots are made for dancing. The music brings out the heat from the shadows, and the leather perfectly represents the daring and provocative vibe.

This project was an exciting opportunity for me to push boundaries and create a unique visual experience. It was about showcasing fashion in a way that was not only beautiful, but also thrilling and powerful.

In preparation for my third show, Fatal, I made the decision to incorporate more videos to exhibit alongside my photographs. I wanted to create a specific and daring atmosphere for the viewers, so I used red filters throughout the videos. To capture the footage, I spent a lot of time shooting in New York City, which provided a dynamic and stimulating backdrop for my work.

In preparation for my third show, Fatal, I made the decision to incorporate more videos to exhibit alongside my photographs. I wanted to create a specific and daring atmosphere for the viewers, so I used red filters throughout the videos. To capture the footage, I spent a lot of time shooting in New York City, which provided a dynamic and stimulating backdrop for my work.

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

At some point Minsk became my third home 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.

My second exhibition in Minsk took place at the National House of Fashion, a historic building in the city center that provided a huge venue.

Following the success of my first exhibition at the art Gallery Y in Minsk the previous year, I wanted to replicate that success. This time, it was my own initiative, and I was responsible for the entire process of organizing and covering all the financial costs. I didn't have any sponsors, and I had to pay for the printing of the photographs, their transportation, and the rental of the venue. I didn't have much money, but I saw it as a reasonable investment in my career.

Fortunately, I had many friends in Minsk who were happy to help with the production and construction of the exhibition. Without them, it would not have been possible. We had a lot of fun coming up with ideas and solutions.

Most of the photographs were the result of my Parisian photoshoots. I found a print house in my hometown of Brest and printed them in large sizes. It took us some time to find a solution for how we would hang the photographs on the walls. In total, there were around 40 photographs.

I was convinced that a successful exhibition required a great opening. I organized a cool DJ and wine, and there were many guests and press in attendance. I received fantastic feedback, and most importantly, we all had a lot of fun.

I learned how to organize an exhibition step by step, and it helped me a lot in the future.

In 2014, I received a call from my friends about organizing my first exhibition in Moscow at Artplay. I was ecstatic because Artplay was one of the coolest spots for art in Moscow at that time. It was a mixed-use development in an old factory that housed architectural studios, art galleries, cafes, and shops.

My friends working at Artplay had never exhibited photographers before, but they were open to doing something new and exciting. There were two other photographers participating, and initially, I was a little worried because our aesthetics for what is beautiful and erotic were quite different. However, as time went by, I realized that our dissimilarity would emphasize our unique approaches.

Our venue was massive, over 1000 m² on two floors, and we all had enough walls for our photographs. We all worked hard on this exhibition for several weeks, and it was so much fun. I was more experienced due to my previous shows in Minsk, and I advised our team on specific topics regarding how to PR the event and the significance of working with the press. Additionally, I suggested options for printing our photographs, organizing a Vernissage for the opening, inviting cool DJs, and having some wine for the guests to make it a big fiesta that would be remembered.

This exhibition lasted over two months and was a big success. It wasn't a commercial enterprise, and the photographs were not for sale. This show reinforced the importance of participating in exhibitions for a photographer. It is a great opportunity to showcase work to a broader public and receive qualitatively different feedback. Most importantly, it inspired me to organize future shootings as projects for new exhibitions, rather than solely feeding Instagram and getting blinded by all the likes and comments.

I planned to make the second event, which took place four months later, more complex and immersive. My idea was to involve the visitors in a creative process, allowing them to not only see my work but also participate actively in it.

This time I also invited some partners to join me and work on each stage together.

Each room of the hotel became a unique stage with its own visual narrative. Visitors could walk through the different rooms and feel like they were backstage at a photoshoot. They were able to capture images and film the whole cinematic setting with professional models in it. It was a completely different experience, not just being inspired by the works of your favorite photographer but also getting a chance to discover their creative world and interact with the models.

At the end of the event, every visitor would have a plenty of images and films that they captured during their time there.

< INTRO

The way I live is like a spark, or an attempt to be a spark in everything I do. I understand that this can be a self-destructive tendency to some extent, but I WANT to be a spark in different aspects of life, creating multiple sparks at once, and from afar it would look like a bonfire.

L.M: You've described a spark.

Good metaphor. So, the answer to your question is that I'm not seeking fulfillment in just one thing, but all my endeavors are somehow connected to creative processes.

L.M: I don't know if you've noticed, but I didn't ask a question.

INTRO >


A conversation with Jurij Treskow in free interpretation.
He allowed it.

We met at the location where the exhibition fatal 2 was supposed to take place to talk about it, about him, about them, about all these butts on the posters, but the furniture hadn't been delivered yet, so we went to sit in another trendy place. We sat across from each other. There was a fire burning behind me. Behind him, the door to the toilet was open. You couldn't make it up.

I was dressed inappropriately for the weather, so I thought I would quickly ask a couple of questions about sex with models, but everything didn't go according to my plan and I got cold. And Jurij didn't warm me up later, even though I also looked like a model. I asked questions diligently with my mouth full, and Jurij swallowed and answered.

L.M: - If I ask you "how did you become a photographer", will you answer with a question (no wonder they called you Esya and Zhurish): how did you become a journalist? Then I will answer you: you asked for it, so I pretend. And it doesn't mean that anyone will believe me and recognize my right to be one. And you are already organizing your second exhibition, so you rightfully are a photographer to people.

J.T.: From my childhood, I remember the rare at that time, endless amount of film rolls that my grandfather took. The endless amount of developed rolls equaled a billion boxes of black and white photographs that I still love to look at. Could this be the beginning of the reason?
The continuation is geographically located in Germany, and my first success, when my project was singled out as exemplary during an art lesson on the topic of "photography". This was the moment of realizing that I could be better than others in something, and it depended not on knowledge but on skills.

The third part of the reason, in the best traditions of life paths, is chance. My friend, who worked in the modeling agency "Elephant" in Brest, suggested taking pictures of girls. "Taking pictures" is a very appropriate word for that stage. Honestly, it was shooting with the aim of getting to know the girls.

L.M: - Did you have a camera?

J.T.: No, but I bought it from a friend. It actually broke down after 2 weeks.

L.M: I didn't ask how. I just thought that someone sat on it.

J.T.: I continued shooting. I had a stockpile of ideas inside, which I was now implementing. I took about 3,000 shots per shoot, and I liked almost everything. I showed these shots at my lectures to relax people and show them that everything is very simple at first.

L.M: - "Bad," you meant to say.

J.T.: It's amazing that I didn't notice how I became so passionate about photography, and my acquaintances with girls became secondary. The process fascinated me. To come up with, implement, share, and get feedback. The desire to continue was largely based on the fact that I had ambitions, and in every new shoot, I wanted to achieve cool results. This is the engine that is difficult to stop.
In my particular case, I prefer the process more. It's the deepest meditation I can be in. I take a camera and can focus on the object, abstracting myself from myself, from Jurij Treskow.

[ Sorry, hello ] Jurij is talking on the phone.

J.T.: Yes, it's me.
J.T.: Oh, sorry, I overheard the beginning of the conversation. Ok, who's calling? Ah, got it, I'm listening.

L.M: 15 seconds have passed.

J.T.: Sorry about that. Yes, yes, goodbye.

The ability to focus on a single object is something that many meditations teach, and during a shoot, whether it's an hour or several hours, it's an amazing feeling when you disconnect from yourself, not because you're uncomfortable with yourself, but because you feel light and weightless. You don't even realize the passage of time, it's both fast and long, and this feeling resonates throughout your whole body. And nothing else, except for photography, gives me this feeling.
That's how my addiction to the process, rather than the results, formed.

L.M: It's strange, of course, to hear that someone not only doesn't get stressed at work, but the opposite. To some, it may even seem unprofessional. By the way, do you ever get satisfied with the result to the point of being emotional? Or is photography just something you do for your own pleasure?

J.T.: When I select the material, which, for the sake of objectivity, does not happen immediately, the result covers me with a second wave of emotions, similar to surprise, because during the process, I never fixate on what I'm shooting. Surprise can be different. Sometimes you think you had a super cool shoot, but the shots you see later when you've cooled off look bland.

L.M: And what do you do?

J.T.: When I was young, I used to get upset.

L.M: Have you ever thought that one day you would take your best shot and there would be no point in shooting anymore? No, you wouldn't say that because for you, it's a meditative process first and foremost, and the result is not even in second place. Sorry, I answered for you.

L.M: Why do you insist on black and white?

J.T.: I'm not insisting. The camera I use gives me a better and more expressive result in black and white than in color.

L.M: But why don't you get a better camera to take your work to the next level?

J.T.: Everything has its time.

L.M: I'll count "everything has its time" as your answer.

J.T.: There's a worn-out phrase that, of course, is not applicable to me.

L.M: And you're still going to say it?

J.T.: Yes. People who shoot in black and white capture a person's soul. In my case, it means that there's nothing extra in the frame.

L.M: - I see, you are for "pure" art.


L.M: Before this question, I took the biggest sip from my glass. For tactfulness.

L.M: "I'm sure there are many different photos in the source files because the girls come in different shapes, sizes, and even, as you claim, with different complexes. But in the end result, it all looks almost the same. How come?"

J.T.: "As strange as it may sound, when photographing different girls, I'm not trying to reflect THEIR reality, but simply using them to create an image from MY fantasy world."

L.M: "Yura, it's noticeable. And my question is: why do you make different levels of sexiness the same? Why don't you want to broaden the boundaries of sexuality wider than just endless legs of models, and show that they are sexy not only in your signature 'flattering' angle, but also where there are folds?"

J.T.: "I can do that, but people come to me for my photos. Enough photographers are taking photos of folds in 2018. And when people come to me, I feel responsible for the results they expect. I understand what you're saying, that sexuality is not just in these angles and poses, which are often very contrived and not found in real life, but we come together to fantasize."
During the shoot, you can take photos from below, above, and to the left, but during the selection process, when no one is sitting behind me and pointing at the screen, I repeatedly choose these deliberately sexy shots because I really like them and hardly anyone else.

L.M: "You don't have to continue, I'll count that as 'I like it.' That's the most important thing."

J.T.: "My entire history with photography is a state of mindfulness. Being in the moment, living life. It's as exciting or just as wonderful as suddenly noticing something nearby in the real world. How the light falls, how the water shimmers, how a love drama unfolds on the corner of the street. I often stop myself to observe what's happening. It becomes joyful for yourself that you notice and feel it, and that it happens in life in general. I never photograph anything like this, and later I may not even remember what I saw, but I experience the emotion from beginning to end. And it's always real-life moments, not posing things. It's on this contrast with the poses in my photos that I like to live."

L.M: - Have feminists ever written to you? Because I think they have a reason to.

J.T.: No.

L.M: - No?

J.T.: No.
I don't turn a woman into a sexual object. I don't turn her into a butt, I don't turn her into legs, I don't turn her into boobs.

L.M: - What do you do then?

J.T.: What I like.

L.M: - But you yourself said that you don't personalize the person, in your case, women, and that's a problem because women should be viewed as individuals if you live in the 21st century.

J.T.: I open any of my pictures. Look, for me, this is Z. Or what was her name? Yes, Z.

L.M: - Feminists should definitely write to you.

J.T.:For me, this is Z, who came so shy, looking like a little mouse, with her worries about the day and three years of marriage, and I'm photographing her like this.

L.M: Shows a goddess-like girl with a snake-like gaze.

L.M: - Touching story, but why doesn't anyone else know about it?

J.T.: It's not important to me.

L.M: - Don't you want to convey your message to the masses? I just looked at Z with new eyes, and now this photo won't look like the others.

J.T.: But that's not my business.

L.M: - What? You're the creator of this wonder, so it is your business! You'll have an exhibition, posters after posters of goddesses, and they'll all look like goddesses of the same level, as if they all took first place in the goddess championship, but you, knowing that they all started from different positions, don't you want to indicate that somehow? It would say a lot about your talent in equalizing inequalities.

J.T.: Everything has its time.

L.M: - Doesn't count. If I didn't want to delve into your art myself, I would have just scrolled through your work, now they're just being scrolled through, like fast food on the way to work, I would have thought you were photographing the same thing over and over again. I don't see this story of a mouse turning into a swan, and I like those kinds of stories.

J.T.: Actually, what I'm getting at is that there will be backstories. But everything has its time.

L.M: - Now I'll count it.

L.M: - I think the question of "is there a muse" is inappropriate.

J.T.: Why?

L.M: - Because you photograph goddesses and they might get angry.

J.T.: Well then, don't ask. How is your interview going anyway?

L.M: - I'm not sure. I hope you're having a good time and won't regret it.

J.T.: All muses can be divided into two types, in my opinion. Sometimes you have fantasized about her, and suddenly you meet her and she is exactly as you imagined. And you think: wow! I can't believe it! Something like this really exists. And then there is the second option. You couldn't even imagine it.
L.M: - I thought you would say something else. That a muse is when you want to photograph a smile.

L.M: - Have model's mothers, fathers, or boyfriends ever written to you? Maybe someone threatened you?

J.T.: Yes.

L.M: - Very interesting! Tell me! I was thinking of not asking, because if feminists didn't write, then what could boys write, except for words of gratitude? It's good that I asked.

J.T.: It was related to the period when I was shooting in a large apartment on Leninsky Prospekt, with high ceilings, and where I also did model tests for a modeling agency. One of the girls came to me, a super sexy type, as if she was always wet, according to my feelings. According to my feelings of eight years ago.

During the shoot, we started talking and she told me a romantic and beautiful story about seeing her boyfriend off to the army. And at some point, I realized that for some reason she was shooting nude.

I'm very tactful. I never make any comments about the model and always have a very delicate sense of what can be asked for and what cannot. I almost never ask someone to undress and I don't have a command to "take off your bra". It happens naturally, as if it's obvious. I feel by inertia that the girl is ready for it, and when she herself starts to get undressed - I just document it.

At that time it wasn't about artistry, I just wanted to look. The process was cool, but the result was terrible. Vulgar trash.

Several years have passed and...

L.M: - Wait, is this the end of the story about the naked girl in the apartment on Leninsky Prospekt???

J.T.: I am answering your question about threats.

L.M: That's interesting too.

J.T.: Nothing happened. I didn't have the courage.
And then a few years pass, I'm in Brest. The phone rings. I answer. This girl asks me why I posted her photo online. I understand that she's saying this at gunpoint, but still trying to understand what photo she's talking about and what her claims are against me. Then a man intercepts the phone, I don't know if it's the one who served in the army, and starts talking:

He says: Hey, where are you?
I say: In Brest.
He says: You're screwed!
I hang up. I don't know what to say! I'm in such a situation for the first time.
He calls back.
He says: delete the photos.
I say: from where?
He says: from your computer.
I say: okay, I'll delete them now.
He says: and throw away the disk with them.
I say: okay.
He says: I'll come and check.
I say: and where are you?
He says: in Moscow.

Anyway, I breathed a sigh of relief and that story ended.

And a few years later, that girl wrote with apologies.

Another girl also wrote, but reasonably. She asked why we shot her like that and why she unexpectedly appeared naked. She asked to delete it.

L.M: This characterizes you as a good photographer who can induce an affective state. Girls can control themselves with bad photographers. Trust me.

J.T.: Female attention is still very secondary for me. I notice this sharply in Moscow, against the background of my acquaintances who eagerly watch my success with women, since I often hang out with various beautiful faces, and it comes easily to me. And I don't even think about it.

L.M: And how do you explain such a reaction?

J.T.: Envy. Male envy.

L.M: No, I'm talking about your success with women. Why do beautiful women walk around with you? In gratitude for their suddenly discovered and immortalized goddess in a photo?

J.T.: It happens, but there are many girls I talk to whom I didn't shoot and don't plan to, and they still find me fascinating.

L.M: Well, you're not ugly.

L.M: What happens after the photoshoot? How does the awkward moment of saying goodbye happen? Handshakes? Mutual slaps on the butt? Do the girls run away while you're in the bathroom? Or do you not even realize how they just posed nude while they're collecting their clothes off the floor?

J.T.: Most of the time, I run away myself. But that's now. Earlier, especially at the beginning of my career, especially in Paris, I fell in love at every photoshoot. Sometimes there were three in a day and then I fell in love three times a day, and tried to continue almost every acquaintance, until I realized that it's not possible to fall in love to the point of exhaustion.
L.M: If you're interested, I prepared questions and even came up with answers, and in principle, I already made conclusions, so here's one that might not be pleasant: your art is communication. I would rate your talent as a photographer lower. Am I right?

J.T.: Yes.

L.M: It's very pleasant to interview you.

J.T.: I wouldn't photograph anyone at all. For me, communication is much more important, but it's impossible to invite a supermodel, or anyone else for that matter, to spend suddenly two-three hours with you. It would mean to waste their time.

J.T.: When guys choose between ass or boobs - I'm like, come on! In real life, it's not idealism that turns me on, you know?

L.M: No, because, Yuri, you propagate perfection.

J.T.: But it doesn't interest me!

L.M: Fuck! Why don't you tell your audience of men about this? One of them, especially a believer in the goddesses you create, demanded that my real girlfriend, who is 160 cm tall, be like the ones in your pictures, where the girls have endless legs! And my friends who have normal legs and waists are getting complexes and suffering! And you, it turns out, believe in the soul.

L.M: You know what? You're a monster. We finished the interview, now I will be brought a chocolate dessert, and I will eat it, as always, but without any remorse.

The original concept of the show was built around the idea of turning everything upside down as I found the traditional format of a sterile white gallery space to be limiting and boring.

Most often, when you visit a photographer's exhibition, you see their decorated works hanging on the walls. You may like them, get inspired, take pictures of their photographs, and that's usually where it ends. This impulse of inspiration remains unrealized. Even if you're inspired to become a photographer yourself or just want to do a few photo shoots, you'll face organizational issues related to finding models, studios, equipment, and most likely, your enthusiasm will dissipate.

My goal was not just to showcase my works and inspire or impress others. I wanted to take it a step further and offer an opportunity to unleash the creative potential within each individual. Instead of just observing and consuming, I wanted to encourage people to become more proactive and create something for themselves.

Following my second exhibition, I traveled to NYC where I had the opportunity to organise multiple shoots. During these shoots, I experimented with new techniques, such as using filters and shooting short videos. As I reviewed the footage, I realized that it could be enough material for my next show.

In Moscow my friends were launching a new, ultra-modern gym and they invited to come to see it.
It was enormous and I got inspired. We agreed to use the venue as a location for the upcoming show. The space was being fully reconstructed from a former parking lot, and my friends assured me that the work would be completed in time, giving me two weeks to prepare for the exhibition.

With a full two months at my disposal, I was able to draw on my previous experience with events and exhibitions and my extensive connections in the Moscow art scene. I began assembling a new team and work on ideas and concepts.

Since I had no investors, I financed everything with my own money. This limited budget provided a framework within which I could evaluate what was possible and what wasn't. At the same time, I was actively seeking creative ways to achieve my desired results while staying within my budget.

The concept behind the exhibition was relatively novel and somewhat difficult for people to comprehend at first. I met with a numerous individuals to explain my ideas and gauge their reactions. Based on their feedback, I was able to refine my ideas and determine areas that needed additional work. I was fortunate to receive helpful feedback and make new contacts, enabling me to connect with a range of bright, new minds.

Since I had experience organizing previous events, it became easier for me to recruit new individuals and convince them to join my latest project. Demonstrating my past work made it less about me simply talking the talk and more about showing that I could walk the walk.

Soon after, I came to the realization that the construction work would not be completed in time, and we were unlikely to secure the location for rehearsal. This was an unexpected and challenging situation that brought about a slew of new problems that needed to be addressed.

As the main producer, curator, and investor, I had taken on a lot of responsibility and pressure. At one point, I was constantly on the phone or in meetings, to the extent that I started losing my voice. Despite the mounting pressure, I remained determined to make the event a success.

Main inspiration for the show was movie Blade Runner (1982).

"Blade Runner" is a classic science-fiction film directed by Ridley Scott and released in 1982. It features a captivating storyline, visionary production design, and stunning visual effects, as well as Harrison Ford in one of his most iconic roles. The film explores complex themes such as identity and humanity, and is widely regarded as a cinematic masterpiece due to its innovative use of lighting and cinematography.

The location lent itself well to the storytelling and visuals, which were enhanced by a cyberpunk and futuristic style.

My main task was to develop a script for the show's guests, which would include elements of immersion, where guests could interact with the space and models, not just observe, but actively participate in the script.

The venue was divided into several zones, each of which was designed as a separate film set. The decoration of the zone depended on the specific idea and involvement of partners. Cinema lighting was installed, set-design was developed, professional models, make-up & hair, styling were provided.

To enter the main exhibition, you must first navigate through a labyrinth.

Don't worry if you experience an increased heart rate and high blood pressure, as this is normal and part of the experience.

Once you emerge into the red lights, you will be asked some provocative questions. These should not be too difficult to answer if you still retain some sense of humanity. You may experience a slight sense of excitement.

Do not hold up the line or resist the searches conducted by the guards, as they are only doing their job. The entire experience will be filmed on a hidden camera, making it feel like a scene straight out of a movie.

Do not be afraid, as nothing will be done to you that hasn't been done to others before. In the end, you will receive a set of tools that can change your perception of the evening and make it memorable. Use them to your advantage!

More excitement awaits you in the main exhibition, which is split into ten sections executed in several acts with no breaks. This is a role-playing game where you must break out of the role of the passive audience member and become the lead actor.

Use the lights, scenery, ITS kit, and your communication skills to create your own content and surprise yourself.