I’ve always felt that something inside me needed to be expressed.
Photography became the form it found.

It carried me through New York, Paris, Moscow, Berlin, LA, London, Milan, Miami — different cities, the same quiet hunger to see people, to feel something real, to get closer.

This isn’t a course.
It’s my working space, opened up.

No formulas.
No social-media tricks.
Just what I learned by staying with the work — the mistakes, the doubts, the moments I almost gave up, and the ones that made me stay.

I’m not here to teach you how to copy a style.
I’m here to show how a voice is built.

How you move from taking pictures
to making images that actually mean something to you.

Photography didn’t just give me a job.
It gave me access — to people, to presence, to fragility and strength.

That’s what I’m sharing here.
Not a set of lessons,
but a way of being with the world through images.

If you feel that pull too,
this space is for you.

01. UNIT / INTRO

In this first part I don’t talk about settings.
I talk about what pulled me toward photography in the first place.

I take you into my story — New York, Paris, Berlin, Moscow — the women, the mistakes, the ambition, and what it really cost to follow this path.

Not to be admired,
but to show how a way of looking at people slowly grows.

The early shoots, the wrong turns, the small breakthroughs, the moments I wanted to stop — and why I didn’t.

You’ll see what shaped my eye: the people, the rooms, the pressure, the hunger.

This is where you begin to understand how a point of view is formed — quietly, over time.

02. UNIT / PRE-PRODUCATION

I share what I actually look at —
the images, books, films, photographers and small details that keep feeding my eye.

You’ll see how I collect and use references,
how I build mood boards that have a direction, not just a vibe,
and how they turn into treatments, briefs and call sheets that give a shoot its spine before anyone steps on set.

I show you how I edit my own work — what I keep, what I throw away, and how I shape a portfolio depending on who’s looking at it.

We also talk honestly about fashion photography:
the line between personal work and paid work,
how money, rates and negotiations really work,
and what images actually cost behind the scenes.

Along the way I point you to the magazines, films and writing that formed my way of seeing,
so you’re not just taking pictures, but slowly understanding the world they live in.

03. UNIT / SHOOTING

Building a team is its own kind of work.
How I connect with models, the trust that forms, the atmosphere on set — that’s what makes an image feel alive. It’s not just about how someone looks. It’s about presence. The way a person changes a room just by being there.

Over time, watching great photographers taught me how those dynamics really work — and how technique fades when something real starts to happen.

Light became another language.
Natural light, flash, LED — each one carries a different mood. I learned to read a space and let the light support what’s happening instead of fighting it.

Erotic photography came into my life quietly.
Early on I learned how thin the line is between tension and something that feels empty. It took years to understand how to keep the charge without losing the beauty.

Fashion brought its own pressure — personal work versus paid work, money, budgets, negotiations, expectations. I’ll show you how I learned to move inside that system, and how everything always comes back to having a clear idea and knowing what your work is worth.

04. UNIT / POST-PRODUCTION

Post-production starts the moment I look at the images for the first time.
Choosing what stays and what goes is already part of the work.

I show you how I edit, how I build sequences and layouts,
and why what you leave out matters just as much as what you keep.

From there, the images become objects — prints, posters, postcards, Polaroids, zines, books.
Each format carries a different feeling, a different way of meeting people.
I also share how still images sometimes turn into moving ones, into fashion films.

Exhibitions and public presentations are another layer of the work.
It’s not just about hanging pictures — it’s about rhythm, space, and atmosphere.
I talk about what I learned by stepping into that world.

And then there’s the part most people avoid:
how I archive my work.
How I keep years of images alive and usable,
so the past can quietly support what comes next.

This is built around doing the work.

Not theory.
Not instructions.

Each part asks something from you — to look, to try, to decide, to risk being wrong.

You’ll test what you see, make choices, make mistakes,
and slowly build your own experience from inside the work.

This isn’t about rules.
It’s about showing up, paying attention,
and finding your own way through images.

PRO

Full access to my working space — and everything that continues to evolve from it.

Including entry into my private archive:over a decade of real work, real shoots, real evolution.

PRIVATE

Mentorship in four private sessions.

Beginning with an in-depth reading of your images,
your choices, and what wants to move forward.

Focused work on your photography, your direction,
and the decisions that shape what comes next.

Includes full PRO access.