INDIVIDUAL ONLINE COURSE
BY JURIJ TRESKOW

01 INTRODUCTION
1.1. C чего и как началось увлечение фотографией.
1.2. Berlin. Съемки в команде. Первый editorial, campaign и look-book.
1.3. Dark Side период в Москве.
1.4. Paris. Модельные тесты. Журналы и celebrities. Муза.
1.5. Выставки и лекции, как фактор самоанализа и прогресса.
1.6. Фото агентство.
1.7. Как New York вскрыл как сильные, так и слабые стороны.
1.8. Los Angeles!
1.1. C чего и как началось увлечение фотографией?
HOW I BECAME A PHOTOGRAPHER ?

FICTION STORY # 6
Эта история произошла одним жарким летом в пионерском лагере «Лесная сказка», недалеко от города Бреста.

Какой год я уже не помню, мне было около 10 или 11. Где-то уже в конце смены, в лагере проводился конкурс «Без искусства – жить не вкусно». Каждому отряду давали одно из направлений искусства. Кому-то рисование, кому-то лепка из глины, кому-то стихоплетение и так далее и тому подобное, кто на что горазд.

Нашему отряду досталась – « Фотография».
Главному вожатому Виталию Анатольевичу торжественно вручили фотоаппарат Kodak и плёнку на 36 кадров.
И случаем судьбы, в нашем отряде – как раз и было 36 человек. То есть в итоге, каждому досталось по кадру.

Нам показали, как пользоваться аппаратом, что оказалось очень весьма лёгким мероприятием - нажимать на кнопку и быстро нести обратно на базу.

Все получили номер от одного до тридцати шести. У меня был номер 15. После того как все закончат фотографировать, плёнку будут проявлять и после этого фотографии развесят в актовом зале нашего двухэтажного корпуса.

Тайным голосованием мы должны будем выбрать победителя, который и получит главный приз – фотоаппарат и уникальную возможность представлять наш отряд среди других победителей этого увлекательного конкурса и пачку шоколадных вафель.

Времени на кадр давали где-то около 10 минут. Кто-то делал снимок, не отходя от базы, кто-то убегал в лес, а кто-то и нет.

У нас в отряде была очень смазливая девочка Алёна. Нравилась она абсолютно всем без исключения - и детям и вожатым и кому не лень. Кроме меня, конечно.

У неё были светлые длинные волнистые волосы, голубые глаза и нежный тихий кроткий голос. В каждую смену в любом лагере были такие «Алёны», но не обязательно были такие конкурсы. Некий образ Мальвины.

Но - было одно но: Алёна и я жили в одном городе, в одном районе, на одной улице, в одном доме, на одной лестничной площадке, но в разных квартирах. Дружили с самых пеленок и порядком надоели друг другу за все годы нашего соседства и открыто враждовали в лагере.

В любом случае – у Алёны – был номер 14, а у меня 15. Что само по себе уже подразумевало конфликт, потому что я побежал за ней, а не она за мной.

Алёна, одержимая искусством, устремилась в столовую фотографировать цветки фиалок в стаканчиках на столах. Не всё так славно и безобидно, столы уже были накрыты для обеда. Под прикрытием поиска прекрасного, Алёна замышляла коварное. Она сделала кадр и принялась уплетать батон за обе щеки. Белый хлеб был самым большим лакомством в те суровые годы.

После этого настала моя очередь, я выдрал фотоаппарат из рук Алёны, задумался, посмотрел на Алёну и молниеносно сфотографировал её, не дав ей шанс опомниться.

Она, не ведая, не подозревая об опасности моего еще более коварного предприятия, в руках держала стаканчик с фиалками и активно жевала батон, отчего щеки её раздулись, а глаза сузились. Мальвину, которую укусили пчелы в щеки. Есть!

Тогда никто не понял ничего, зато отчётливо все поняли это в актовом зале нашего корпуса, на вечернем мероприятие, посвященному голосованию.

Как Вы уже догадались – моя фотография, на фоне фотографий с букашками и какашками, была единогласно выбрана лучшей. Фотография Алёны – к сожалению, у меня не сохранилась, но вот фотоаппарат до сих пор пылится в кладовке…

Paris, 2012
BIOGRAPHY
POLOTSK
24.05.1984
BREST
Kindergarten
School
Liceum
University - Computer Science
FRANKFURT
2001-2005
Gymnasium
FREIBURG
2005 - 2007
University - Economics
BERLIN
2007 - 2009
University - Economics

First equipment and studio
MOSCOW
2009-2010
First model tests
Artistic life
MINSK
22 May 2010
First Exhibition at Y Gallery
PARIS
Moved to Paris
May 2010
MINSK
21 May 2011
Exhibition at NSK

First Lecture
MINSK
3 January 2013
Lecture at Znyato
BREST
7 January 2013
Exhibition and Lecture
at Hermitage
MINSK
24 May 2014
Lecture and Exhibition at Hooligan
MOSCOW
22 November
Lecture at K-Loft

10 December 2014
Exhibition at ArtPlay
SAINT - PETERSBURG
6-7 December 2014
Lecture and Practice at Studio 212
NEW YORK
Moved to NYC
May 2015
MOSCOW
9 October 2015
Curator of Elliott Erwitt Exhibition in Moscow

26-27 December 2015
Lecture at Apollo
MOSCOW
29 May 2016
Lecture at Apollo
MOSCOW
April 2018
Fatal #1 at Richter
MOSCOW
11 February 2018
Intensiv at Lobster

20 September 2018
Fatal #2 at Richter
MOSCOW
26 - 27 January 2019
Intensiv at Odyssey and Lobster

23 May 2019
Fatal #3 at Kometa
LOS ANGELES
January 2020
Moved to L.A.
BREST
FIRST STEPS
Almost every vacations I spent in Brest, in my hometown visiting my friends and having fun.

In 2007 I had a friend who was working for a model agency "Elephant" in Brest. When he found out that I was interested in photography he suggested me to shoot some of their girls and helped me to organize my first shootings.

I didn't know much about photography though. I didn't prepare any mood-boards, I didn't know anything about golden ratio, composition and other things. All settings on my camera were set to automatic. I just pushed the button.

But at the same time I also didn't have any expectations from the final results and that's why I didn't put any pressure on me. I was a real amateur who stayed curious, was ready to experiment and to explore new things.

I had thousands ideas, most of them were quite crazy. It didn't stop me from trying them. After each shooting I did a selection and from 2000-3000 photographs I shot I really liked 200-300 photographs! A lot!

I was showing them to my friends to get an opinion and some feedback.

With every shooting I was learning something new but most importantly I immediately got immersed into the world of photography. I fall in love.
QUOTE
" A musician doesn't play just to reach the end, she gets enjoyment from the act itself. The motivation is focussed on the 'means not the ends. "

Alan Watts
EQUIPMENT
FIRST CAMERA
My first camera was a СANON 20 D which I bought in Brest from my friend for around 900$. After a few shootings my camera got broken and I gave it back.

My next one was a CANON 30 D with 50 mm 1.4. Having a fix lens helped me to move around and not get lazy and stuck.

Through a fix lens I've learned importance of always staying in motion and feeling for a distance.

50mm is a perfect solutions for a beginner. You can take a full-lengths and also portraits. And for a relatively cheap price you get a good quality lens.
QUOTE
" The first 10 000 shots are the worst. "

Helmut Newton
1.1. EXERCISE
Find your first photographs that you really liked. How can you describe what do you feel by looking at them now?

PHOTOGRAPHY
FIRST MUSE
Olga was one of my first mentors into the fashion world.

As a model at that time she was totally obsessed with Fashion and Photography. For our shootings she was preparing looks to shoot, different make-up and hair.

Olga was helping me by selecting photographs afterwards and explained me about basics for fashion photography.

She also introduced me into fashion magazines and fashion photographers.

For my first locations I was mostly looking for some quiet backyards in Brest.
FREIBURG
NEW SHOOTINGS
Coming back to Freiburg where I still was studying Economics at the University I've continued my passion and was looking to organize new shootings.

At that moment in Germany were popular www.model-kartei.de and www.modelstyle.de where you can find mostly amateur and semi-amateur models, stylists, make-up and hair artists.

I was texting models who where close to my city. I've started to prepare my first mood-boards to explain them my ideas and what I wanted to shoot.

At the same time I was uploading my photographs from Brest on photography platforms and web sites. I was getting comments and feedback from other photographers. And their critic was very helpful and constructive. It was a big difference on commenting on photography back in time, before Instagram and Facebook.

My goal was to get better and I was inspired by more professional photographers on this platforms.
I've started to study photography books and also retouching.
INSPIRATION / MOVIE
BLOW UP
The movie "Blow Up" by a genius Antonioni made a huge impression on me. The narrative covers a day in the life of a glamorous fashion photographer.

I could see in detail what could life of a photographer look like.

Years later I had an opportunity to shoot one of the main characters of this movie Veruschka for a Russian Numero.
FIRST MUSE
HELENA
In 2007 I had a photo shooting with Helena. She came from a city close to Freiburg, she prepared looks for our shooting according to our mood-board. During the photo shooting she was moving and posing so differently to most of my shootings in the past.

This shooting has also changed a lot in a way I was capturing a woman in my photographs. I was looking now for a strong, confident, seductive woman, that is in power. The early beginnings of la femme fatale that will fully enter into my photography years after.
MOVING TO BERLIN IN 2007
Who influenced my decision to drop economics and move to Berlin?
I took this tough decision by myself. Actually I didn't have anybody in Berlin, that was waiting for me and promising me any shootings and no salary. I didn't have a lot of money and this was quite intense and difficult in the beginning.
But I was young and hungry for new experiences. I was very inspired and happy to move into the big city, the capital of Germany.

My parents were shocked and couldn't understand where this all comes from. Why I've decided to became a photographer and why I need to drop my studies. I convinced them that I will transfer to Berlin University and will keep on studying economics but in Berlin not in Freiburg.

I am very thankful that in the end they have changed their minds and were very supportive and let me go my way.

Berlin at that time was a unique place on Earth. This pure and raw energy was streaming from everywhere. A lot of young people from all over the world, techno music, architecture and the energy of a united city was very intense.

I was walking endless on the streets of Berlin to immerse myself into a new reality and let magic happen.
PHOTO SCHOOLS IN BERLIN
Why I wasn't accepted by a photo-school in Berlin?
I made a list with schools that teach photography in Berlin. I printed some of my photographs and went to see 2 best institutions: LETTE VEREIN and KREUZSCHULE (CLOSED)

I found out that it takes 2-3 years and 6-8h a day to get a diplom in photography. I wasn't ready for it and didn't know how can I combine to study economics and photography at the same tame.

And the other reason was that I didn't want to wait any longer. Patience wasn't something I was strong in.

I took a look at the final diplom works of photographers who finished these schools and I wasn't impressed at all.
ASSISTING
Why I didn't become an assistant?
If you want to became a photographer in Europe you start by assisting. It's still a common practice among a lot of photographers. Assisting to different photographers can take you several years before you start on your own.

It's not only about observing how things happen but also getting contacts and get known among fashion world.

Due to a lot of changes and a different approach in photography this way is slowly loosing it's importance.
INSPIRATION / BOOK
Mastery by Robert Greene
It takes around 10 000 hours to became a master in almost every field.

  1. Apprenticeship - you must choose places of work and positions that offer the greatest possibilities for learning. Value learning over money. Keep expanding your horizons, experiment, trial and error mode.
  2. Creative-Active. Instead of feeling complacent about what you know, you must expand your knowledge to related fields, giving your mind fuel to make new associations between different ideas. Look at problems from all possible angles. In the end, you will turn against the very rules you have internalized, shaping and reforming them to suit your spirit.
  3. Mastery. Learn how to quiet the anxiety you feel whenever you are confronted with anything that seems complex or chaotic.
QUOTE
" People think that it is important to learn by assisting the great photographers. I say that is a big mistake. Be happy; just learn from any little guy. Learn how to use the camera - you don't need anything else. You can't be taught the real skill anyway."

Peter Lindbergh
1.2. Berlin. Съемки в команде. Первый editorial, campaign и look-book.
NEW SHOOTINGS BERLIN
I kept on organizing new shooting. Almost all of them for free. Sometimes I was spending my own money to make them happen. Paying for model's tickets and catering on shootings.

I got more professional and experienced models but still mostly amateur teams.
Some shootings were with stylists and make-up & hair artists.

Another important thing was that I got more exciting locations to shoot.
FIRST ACCLAIMED PHOTOGRAPH
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
INSPIRATION / HELMUT NEWTON
HELMUT NEWTON
Main inspirations at this time were those photographers. I was trying to get everything about them. Not only I was looking through their photographs but also reading and watching interviews with them.

Helmut Newton, Richard Avedon, Paolo Roversi, Sarah Moon, Irving Penn, Sante D'Orazio.

I was going to all exhibitions about photography and art in Berlin. At this time it was blooming in the city and many things were happening.

Especially Helmut Newton influenced me a lot during my period in Berlin.
GERMAN TV
SHOW
One of my photographs was discussed on German TV. It was a show for models and when the jury examined model's portfolio they saw one of my pictures and asked who photographed it?
And she answered it was Jurij Treskow.

I was proud and this was my first big deal that I could explain to my parents.
1.2. Первый editorial, campaign и look-book.
LOOK BOOK
KILLIAN KERNER
One of my first look-books for a designer Kilian Kerner.
EDITORIAL
VSYA EVROPA
EDITORIAL
ONLINE
GUY
CAMPAIGN
PATRICK HELLMANN
One of my photographs was discussed on German TV. It was a show for models and when the jury examined model's portfolio they saw one of my pictures and asked who photographed it?
And she answered it was Jurij Treskow.

I was proud and this was my first big deal that I could explain to my parents.
STUDIO EQUIPMENT
HENSEL
When I got a studio for 45 euro (!) a month in Berlin I needed to buy my first equipment. After some research I decided for Hensel. I had no idea about different producers of light equipment, so I've decided for a german quality and as a student I got a good price. 2 Heads, beauty dish plus travel bags for my future journeys.

Without studying much how it works I've organized shootings at the studio and was learning by trying things out. Experimenting. That's way I always got different results and effects.

I kept my amateur approach and for every shooting was creating unique light schemes and patterns.
1.4. Dark Side период в Москве.
DARK SIDE
Now I can explain this dark side style period in my photography mostly because of me not having any technician skills how to operate camera and especially light equipment.

Many photographers go through this phase too. It's almost the same when you start to paint or play an instrument. You just make hectic brush strokes and you are amazed by the abstract pictures starting to appear on a blank pages. Or you press all the keys on an instrument you don't know how to play and find it least interesting. Because it's your own creations and it has a special value to you.

I didn't bother to study instructions and I was playing around with the settings on my camera and my light equipment to get some very crazy effects. It fascinated me a lot.

Model were posing in a very weird way. First, because I didn't know much about posing and didn't know what potential lies behind directing models to get your ideas full-filled. Secondly, my mostly amateur models also didn't know much about posing and didn't know what I want and how it might look like?

And also Berlin at that time had this dark energy everywhere. I could sense it and incorporate it into my photography. In the future cities where I was staying influenced a lot the way I was taking photographs.

And there also was a photographer Chadwick Tyler. I can't say that I liked his work, but it definitely made me react to it. Raw, dark and even frightening images.
INFLUENCED A LOT BY CHADWICK TYLER
DARK SIDE
And there also was a photographer Chadwick Tyler. I can't say that I liked his work, but it definitely made me react to it. Raw, dark and even frightening images.
MOVING TO MOSCOW
SPUTNIK
I was in love with one girl. And she was from Moscow. I was working on a project Sladkoe Na Potom. I've contacted her for an interview and then we stayed in touch. We met in Amsterdam. Fall in love and I decided to move to Moscow. She was working as a model and was traveling a lot.

Actually it was my dream to live in Moscow even for a little while. I was very connected to a russian culture and everything what was happening in Russia at that time. I was visiting Belarus every time I got a chance. And Moscow was a place to go.

My parents couldn't believe it's for real. After moving to Berlin, dropping economics and beginning with photography, now I got an idea to move to Moscow, because I was in love with a girl I met online and then spend 3 days in Amsterdam.

And it was end of 2009. Moscow didn't have a good reputation. It seemed to be very dangerous and expensive.

I had few friends from Belarus living in Moscow and all of them told me Moscow gives you a lot of possibilities but you need to work hard.

Nothing could stop me. I met my decision and was packing my stuff to go to Moscow. I still don't know where this determination comes from.
ARBAT
I was renting a room in a bigger apartment close to one of the most famous streets in Moscow - Arbat.

All my roommates were artistic and bright personalities. Every day and night we had people coming into our apartment and having parties. All of them very different and strange, but talented. It's was on of the underground centers in Moscow at that time. Photographers, painters, poets, stylists and designers were among visitors. And I was in middle of it.

I think I was able to make connections more easily because I came to Moscow from Berlin and not from Brest. I was interesting already by this fact. It helped me a lot to knock on many doors and mostly I was welcome.

Another very important thing that I took from staying in this apartment is that I could not only observe how artistic people live but also slowly live this way by myself. Being a photographer meant fully immerse with this state of being creative and artistic. I slowly adapted to it and my interests have changed through my new friends and places I went to.
SLADKOE NA POTOM
JOURNALIST
Second reason why I got so many cool connections in Moscow was my online project Sladkoe Na Potom.

Inspiration came from magazines Snob & Esquire. I was taking interviews by people I was interested in Moscow.

Interviews with

SVETLANA TANAKINA / VALERIA LAZAREVA / ALEXANDR ROGOV / DMITRI LOGINOV / MASHA RUDENKO / ALINA LEBEDEVA / LYS INGER / ESTHER GUER / JURIJ TRESKOW / SASHA SAMSONOVA / CATE UNDERWOOD / NIKITA MANIN

Проект "Сладкое на потом" объединяет людей независимых и свободных, которые живут и творят как в России, так и за её пределами. Ощущая себя уютно и вольготно в разных культурах и среди разных народов, владеющие разными языками, они остаются тесно связанными с русской культурой и не перестают думать по-русски.

Тем самым, создавая новый образ мышления, правила жизни, мировоззрение и систему ценностей современного человека.
_____

The project "Sladkoe na potom" brings together independent people who live and work both in Russia and abroad. Feeling comfortable and relaxed in different cultures and among different peoples, who speak different languages, they remain closely connected with Russian culture and do not stop thinking in Russian.

Thus, creating a new way of thinking, rules of life, worldview and value system of modern man.
MODEL TESTS / DEMONIC SERIES
BACK TO BERLIN
HELENA
HELENA
BERLIN 2010 AT A HOTEL

LE FEMME FATALE 2.0.
WOW / NEW DIRECTION
1.4. Paris. Модельные тесты. Журналы и celebrities. Муза.
ROMANTIC COLLECTION
I came to Paris for 3 days to surprise my girlfriend.
1.2. EXERCISE
Questions by Christopher:

Are you doing what you are uniquely capable of, what you feel placed here on earth to do? Can you be replaced?

What unique about your style?
If you will stop photography - will anybody miss it? What is the worst that can happen?

Where do you see yourself in 5 and 10 years?

FIRST MONTHS IN PARIS
PARIS
In May 2010 I took a train from my parent's home in Frankfurt to Paris. Again, my parents were shocked and frustrated. After moving from Freiburg to Berlin, then after 3 years I decided to go to Moscow. 3 months later I am coming back to Berlin for a months and then Paris. I was definitely chaotic.

I had 2 bags, one with my clothes and another one with my light equipment. My english was quite poor and no french at all. I didn't have much money just enough for one months rent. And Paris was much more expensive than Berlin and Moscow.

In 2010 you don't have booking.com or airbnb, so after arriving at the Gare D'Est station the only way to find an hotel room is just going from one to another and asking for a price and availability.
MODEL TESTS
ELITE PARIS
After shooting some paid model tests for Avant I was thinking to do the same in Paris.

I made a list of all agencies in Paris and started to email all of them. Sending them some of my photographs from Moscow and asking for an appointment.

My first agency was Elite. It's one of the best and well known agencies. I was impressed by everything I saw. Their huge office, so many bookers and models around.

I had around 150 photographs size 10x15 with me. It was everything mixed up. My artistic work and demonic tests from Moscow. They didn't know what to do with me. Some of them told me I better continue with my artistic work. But I needed money to pay for my staying in Paris.

So, the deal with most of the agencies was, that first test is for free and if they like the results the next one is paid. 150 euro
FIRST MODEL TEST
LINNEA
You can follow my archives on IG.
instagram.com/treskow.archives

I shot this in 2010 in Paris. Models name is Linnea and she comes from Sweden.

Linnea won Elite Model Look in Sweden that year and she was getting big. Honestly I was so excited but at the same time very nervous. I didn't have a place where to shoot!

Through my concats on facebook I met Katia Kameneva, who is a very famous painter and artist living in Paris.

We met with Katia at her huge apartment at Pigalle. I told her my story about coming to Paris just with one bag, staying at the hotels around Gare d'lest.

She said that she is leaving tomorrow to countryside with her family and then she just gave me the keys from her apartment and said that I can stay here for the next 5 days.

My story reminded Katia on one of her friends who also came to Paris 20 years ago and he also was a photographer. So she decided to help me out. Thank you!

Miracles happen!
LINNEA
Photographs were very influenced from my dark side period in Moscow. Very dark and a little bit demonic. I would even say very unusual for a model test at that time. But in the end they took some photographs from this shooting and it meant that the next one is a paid one.
LINNEA
With time I got more experienced and understood rules and expectations from the agencies regarding the model tests. No all tests were accepted. To get better I've started to study websites of the agencies and especially their development departments. To see what kind of photographs they need, what lightning, styling and poses. I've started to adapt myself to model tests.

I've started to create my first mood boards for tests and went to buy clothes at vintage shops.
1.3. EXERCISE
Next time you shoot spend 80 % of time on achieving your goals and let 20% for an experiment. Try not to think too much and listen to your intuition and your heart. Try all ideas that will come onto your mind. Surprise yourself and let it flow.

It's very likely that by doing this you can discover and capture something new and unexpected.

Be excited about something that you haven't done yet.
DEMONIC EFFECT ON MY FIRST MODEL TESTS IN PARIS
Ритуал проверки оборудование
перед съемкой. Создайте чек-лист: провода, зарядка, чистые линзы, батареи заряжены, удлинители, карты памяти, фильтры. Некоторые элементы возможно надо будет дублировать для подстраховки.

Фото-чемодан или сумка - очень оправданная инвестиция, которая в будущем спасет вашу спину. Вы всегда знаете, где и что у вас лежит, вы тратите меньше физических резервов на перемещение оборудование, тем больше у вас остается сил на проведение самой съемки.
EDITORIALS OUT OF MODEL TESTS
Ритуал проверки оборудование
перед съемкой. Создайте чек-лист: провода, зарядка, чистые линзы, батареи заряжены, удлинители, карты памяти, фильтры. Некоторые элементы возможно надо будет дублировать для подстраховки.

Фото-чемодан или сумка - очень оправданная инвестиция, которая в будущем спасет вашу спину. Вы всегда знаете, где и что у вас лежит, вы тратите меньше физических резервов на перемещение оборудование, тем больше у вас остается сил на проведение самой съемки.
EDITORIALS
Model tests have influenced a lot the way my photography was developing.

I was paying my bills from model tests money. Each test was 150 euros.
I needed to test often and my tests had to be good to be accepted otherwise I am not getting paid.

With time I've started to adapt to the requirements from the agencies. They needed 5-7 photographs that they can use for their portfolios. Portraits and full lengths where you can see body.

Each test I was trying new things. Always updating my mood board I had for model tests. I was experimenting with lights and poses and was testing what works for me and for the agencies and what not. I didn't stay in a comfort zone and always was pushing the boundaries.
MOOD BOARDS
Ритуал проверки оборудование
перед съемкой. Создайте чек-лист: провода, зарядка, чистые линзы, батареи заряжены, удлинители, карты памяти, фильтры. Некоторые элементы возможно надо будет дублировать для подстраховки.

Фото-чемодан или сумка - очень оправданная инвестиция, которая в будущем спасет вашу спину. Вы всегда знаете, где и что у вас лежит, вы тратите меньше физических резервов на перемещение оборудование, тем больше у вас остается сил на проведение самой съемки.
LIST OF ITEMS
LIST
I had list for models what to bring for a model test

- high heels
- stockings / tights
- underwear (black), lingerie, bodies
- leather jackets
- coat
- skirts
- black jeans
- leather pants
- black dress
- designer clothes

+ cosmetic bag

I also was shopping at the vintage stores for new items I could use for my tests. Nothing special. Basic stuff. I didn't want to waste too much time for organizing shooting with stylists and make-up artists. So my photographs were not much about fashion but more about models and their personalities and charisma.

I was good at portraits and a lot of girls could get good paid jobs after.
PARIS 2012 - ADVANCED MODEL TESTS
TESTS
Slowly my tests became very good and strong. I had my own recognizable style. Agencies were trusting me to do my magic on models, mostly new faces but also models from the main board who needed to restart their careers and update their portfolios with some fresh and strong photographs.
TESTS
My photographs became more erotic and seductive in a way. Very french. La femme fatale image of a woman is beginning to appear.
TESTS
I was changing often my apartments in Paris. Because normally I would rent them only for a short-term. That's why I could have different interiors for my settings.

I also was happy to shoot outside. Every time when I was walking I would take notes and remember locations where I could shoot next time.
VIKA SHOT IN PARIS
ARTISTIC
MOSCOW
I still was going often to Minsk and Moscow and kept on doing some artistic and personal work. In opposite to "simple" model tests I was using crazy styling and not regular make-up for my work.

It helped me a lot to became a little bit more famous that I was based in Paris. Not many russian speaking photographers were in Paris that time. I was on of the first. Plus I had german papers and could work with agencies directly and getting paid officially.
CONNECTIONS
TEXT
I have to admit that I was using social media to get new contacts. I never hesitated to send a message to a person that I wanted to know.

I sent millions of emails to magazines to get an editorial for them.

I think a very small percentage of all my emails was answered. But still I could
CREATION OF A PERSONA
TEXT
Social intelligence.
Think of it as theater. Become mysterious & intriguing. Play with the public, give them something compelling and pleasurable to witness. Let them project their fantasies onto you.
FIRST NUDES
TEXT
2 Reasons
MODEL TESTS IN PARIS had this specific FRENCH Chic STYLE
BACKSTAGE
PARIS
LIST
Mostly I was busy with model tests for agencies. For some weeks I had shootings almost every day. Especially before fashion weeks. Because models needed new photographs to update their portfolios.

Some models were contacting me directly. Mostly models that didn't have agencies and wanted to make some appointments with them.

Also I got a lot of requests from women that wanted to get some beautiful photographs. Some of them were visiting Paris and this also became a nice memory from their trip.

I've started to shoot for magazines. Because of my good contacts to model agencies I could get good model for my castings. It's important to keep good relationships with bookers and agents.

With time I also started to shoot some look-books and catalogs. Not many but some times it was good money to pay the bills.

I also have continued to shoot portraits with celebrities. It's important for your portfolio to make you more expensive so to say. But in general I was more than happy to get an opportunity to meet people that were inspiring me a lot.
MUSE
FIRST SHOOTING

Первая съемка с Барбарой прошла в середине октября, в 2011 году.
Мой второй год в Париже, моя вторая осень.

Тогда я жил в небольшой квартире около Люксембурского сада, и у меня не было возможности снимать в студии или дома, поэтому я искал в Париже тихие и интересные для съемок улицы, скверы, дворы. Погода еще позволяла снимать, осень была теплой.

Одной из моих находок было здание бывшего огромного и, известного в прошлом, торгового центра La Samaritaine. Он находится в самом центре Парижа, около Лувра, между улицей Rue Rivoli и рекой La Seine.

Примечательно, что улица Rue Rivoli одна из самых шумных и активных артерий города, но сделав буквально несколько шагов, как ты попадаешь на очень тихую, с одним лишь всегда пустым кафе, улочку, зажатую двумя зданиями бывшего магазина.

Улица в длину метро сто, стены зданий все имеют разную структуру, цвет, промышленные и индустриальные, что дает некоторое ощущение попадания в прошлое и немного New York атмосферы, которую такой редко встретишь в Париже.

За счет большого количества окон и стекол свет преломляется, создавая уникальные условия для съемки, которые очень сложно воссоздать искусственно.

Барбара из Дании, живущая в Париже уже некоторое время. Как потом выяснилось, мы жили на соседних улицах на левом берегу, в районе Монпарнасса и, к тому же, Барбара снимала комнату у русской девушки. Началась череда случайностей, которые может и не совсем были столь случайными.

Для меня ее внешность, манера говорить, то, как она курила сигареты, улыбалась, как бегал ее взгляд во время разговора, ее легкий, хриплый акцент на англиском - все это было такой french, такое французское кино 70-ых, пусть она и была и датчанкой.

На съемку Барбара принесла много вещей из своего гардероба, которые очень сильно помогли создать образы, пластику и эстетику наших фотографий, очень индивидуальных и очень ее.

Наверное, Барбара, своим появлением в моей той жизни, стала именно тем катализатором, тем толчком, которые дал ход многим внутренним механизмам любого творческого человека. Все завертелось, все закружилось и вдохновение забило ключом. Идеи возникали сами собой и ощущение старта, ощущение, что все по плечу. То состояние, когда блестят, когда горят глаза, когда даже само дыхание меняет темп, когда сердце бьется и тело вибрирует в его ускоренном темпе, и когда волшебное тепло разливается по каждой клеточке, когда все ясно и понятно, и, когда чувствуешь, что ты создаешь, творишь. Ты собираешь накопленный опыт, все увиденное, услышанное, прочувствованное раннее, и накладываешь этот опыт на настоящий момент и создаешь, самовыражаешься. Это очень сложно объяснить словами, но это именно то состояние, когда ты встречаешь свою МУЗУ.

Мы сразу почувствовали друг друга и, объясняясь где-то на английском, где-то жестами, но больше просто глазами, мы оба все поняли.

Да и потому, что самые сильные съемки, это, когда ты не объясняешь словами, что надо сделать, а "ведешь" съемку взглядами, когда слова не нужны. Это был именно тот случай.

Уже первые кадры, когда Барбара закурила и я сделал пару пробных кадров, чтобы проверить свет на камере, увидев первые результаты, все окончательно стало ясно. Она.

Потом время, как величина независимая, остановилось или наоборот разогналось, в общем, время потеряло свою материю, свою суть, оно стало невидимым. Единицами времени были щелчки затвора. Мне казалось мы снимали пару мгновений, оказалось, что пару часов. Почти до заката.

Пытаясь вспомнить детали самой съемки, я наталкиваюсь на пелену, на туман, сумбур всплывающих образов, фраз, звуков, теней, запахов, но не могу нащупать ясность и последовательность съемки. Все смешалось. Словами это не передать.

Сразу после съемки, еще опьяненный эмоциями и впечатлениями, я сразу приступил к отбору фотографий. Ближе к рассвету я заснул.

Через несколько дней я показал результаты нашей первой съемке Барбаре. Выслал ей фотографии и затаился. Замер. Не зная, как она отреагирует.

Она была в восторге. Я не знаю, что испытывают модели, когда просматривают свои фотографии, какие эмоции, как и что они видят. Не знаю. Я по другую сторону.

Но Барбара, сказала, что я смог увидеть, показать именно ее суть того момента ее жизни, ее внутренний мир, борьбу, надежды, словить ее взгляд, ее мысли. Она даже немного испугалась от такого эффекта. Почувствовала себя такой открытой и не защищенной что ли.
___



Третья съемка.

В то время, я очень много смотрел кино. В частности в очередной раз пересматривал David Lynch. Фильм "Blue Velvet" стал нашей темой нашей третьей съемки. Как оказалось и последней.

Так случилось, что и не удивило меня, нам нравились те же фильмы, та же музыка, те же книги. То есть мы закалялись и формировались похожими источниками, инструментами. Это тоже в данном контексте неудивительно.

Год подходил к концу. Мы оба скоро должны были уехать из Парижа, от этого было грустно. Но это было очень своевременно. Наши отношения заблудились и было какое-то ощущение недосказанности, незавершенности. Какой-то обиды, что мы не смогли что-то построить между нами, вне наших съемок. И беспомощностью перед ходом времени. Третья наша совместная работа стала той необходимой точкой, которая помогла нам обоим продолжить наши пути. Мы выпили тот эликсир нам подаренный до дна.

Съемка очень художественная. Очень кричащая и очень проникновенная. Взгляды, движения, пластика картинок. Она вне реальности мирской. Это абсолютно вымышленный мир. Мир, который мы создали сами и для самих себя, нам лишь понятный до конца. Он пронизан криком. Криком из самого внутри, крик который опережал скорое наше расставание.

Доминируют синий и красный цвет. Именно эти два цвета объясняли нас. Я был - синим цветом. Барбара - красным цветом. И их комбинация, столь сильная, все же не могла существовать вместе. Они сталкивались и рассыпались острыми осколками.

Это было прощай в целую вечность, когда впереди бесконечность.
SECOND SHOOTING
Вторую съемку мы решили провести на кладбище Монпарнаса. Оно как раз было в несколько минутах ходьбы от нас. На эту съемку мы взяли только одно платье, хотели проработать один образ.

До этого, снимать на кладбищах я давно не решался и считал, что это не этично, неприемлемо. Но в Париже многие кладбища являются больше музеями под открытым небом. Так что я сдался.

Съемка стала более эротичной, сексуальной, игривой. Больше видно тела, больше поз и ракурсов, больше прямых взглядов в камеру, немного провокационных, к тому же мы снимали на кладбище. Съемка была не агрессивной, не эпатажной, где картинка картинки только ради.

Я бы сказал, может это прозвучит странно, для меня эти кадры, некоторые из них, это нежность, любовь, тепло и волшебство в одной из ее внешних форм, которые ты фиксируешь зрительно, визуально. Будучи и хрупкими, но одновременно как поток сильной реки, которую невозможно остановить, перед которой ты понимаешь всю свою слабость, но не пугаешься, а наоборот набираешься сил, глядя на движущийся волны реки и медленно в нее вступаешь.

И опять на съемке, мы едва разговаривали, пару фраз, осколки. Со стороны могло бы показаться, что мы в каком-то ритуальном танце, в неком трансе, сфокусированные, сконцентрированные. Обострялись все чувства восприятия, но направлены они были только друг на друга. Ничего вокруг мы не замечали. После съемки, после того как ты последний раз сделал кадр, когда к тебе медленно приходит понимание, как сквозь сон, что все - съемка завершена. Ты чувствуешь усталость, которая тебя парализует. И удовлетворение.

Конечно, когда в твоей жизни появляется муза, наконец-то, в конце концов, у тебя на уме только одно - это проводить с ней время, все время быть рядом. Да. Все верно. Но, есть одно но. Муза - это очень хорошо, но когда дозировано, потому что, когда музы в твоей жизни становится слишком много, это не всегда хорошо. Все превращается в яд, который губит обоих.

Будучи соседями, мы с Барбарой несколько раз встречались, совершали прогулки, разговаривали, смеялись, жили Парижем, скажем так. И присматривались. Музу очень хотелось полюбить и любить, гарантировать ее постоянное в твоей жизни присутствие.
Момент влюбленности уже состоялся. Это неудивительно. Состояние влюбленности фотографа в модель во время съемки, это та необходимость, которая помогает раскрыть, увидеть, заметить модель. После съемки обычно это состояние достаточно быстро улетучивается. И так каждый раз.

Поэтому встречаясь не в формате съемки, мы осторожно присматривались, пытаясь понять, как мы оба друг в друге можем вызывать такие колебания, такие эмоции. Потому что, конечно, нельзя сказать, что я был музой Барбары, но я был тем человеком, который смог тогда видеть, увидеть ее насквозь и мог своему видению придать форму, в которой она себя заново переживала. Наши фотографии. То есть я обладал в ее глазах в некотором роде магией, волшебством, силой над ней, которую она не могла контролировать.
THIRD SHOOTING
Третья съемка.

В то время, я очень много смотрел кино. В частности в очередной раз пересматривал David Lynch. Фильм "Blue Velvet" стал нашей темой нашей третьей съемки. Как оказалось и последней.

Так случилось, что и не удивило меня, нам нравились те же фильмы, та же музыка, те же книги. То есть мы закалялись и формировались похожими источниками, инструментами. Это тоже в данном контексте неудивительно.

Год подходил к концу. Мы оба скоро должны были уехать из Парижа, от этого было грустно. Но это было очень своевременно. Наши отношения заблудились и было какое-то ощущение недосказанности, незавершенности. Какой-то обиды, что мы не смогли что-то построить между нами, вне наших съемок. И беспомощностью перед ходом времени. Третья наша совместная работа стала той необходимой точкой, которая помогла нам обоим продолжить наши пути. Мы выпили тот эликсир нам подаренный до дна.

Съемка очень художественная. Очень кричащая и очень проникновенная. Взгляды, движения, пластика картинок. Она вне реальности мирской. Это абсолютно вымышленный мир. Мир, который мы создали сами и для самих себя, нам лишь понятный до конца. Он пронизан криком. Криком из самого внутри, крик который опережал скорое наше расставание.

Доминируют синий и красный цвет. Именно эти два цвета объясняли нас. Я был - синим цветом. Барбара - красным цветом. И их комбинация, столь сильная, все же не могла существовать вместе. Они сталкивались и рассыпались острыми осколками.

Это было прощай в целую вечность, когда впереди бесконечность.
MAGAZINES
THE CONTRIBUTOR MAGAZINE SWEDEN
Hi Jurij,
Thanks, for your e-mail.
We here at the magazine like your personal portraits under the selection woman.
The have a sensible and interesting touch.
If you are interested we would be happy to publish a selection of them on http://contributormagazine.com/
Or if you are abut to shoot new ones, publish them.

Thank you!
Antonia

___


First I've started to send my photographs to this magazine to be shown on their website as online editorials. I got more than 10 stories published. It was a great opportunity for me to get broader audience.

They really liked a lot what I was doing and at some point suggested to me to shoot for the next printed issue. Big deal for me.

My idea was to shoot 5 models for them. Stefania Miano was a stylist for this shooting. We worked with her on some personal projects before. It's a big deal to get clothes for a shooting with 5 models. We got tons of packages delivered to my studio. There was no budget because The Contributor positioned themselves as an independent magazine. I had to cover expenses from my own pocket.

I asked Elite Paris to give me good casting. Honestly I had no experience in shooting with 5 models. How to direct all of them and create some strong images where all looks great and sophisticated.

In the end it was a total mess. I mismanaged the whole shooting. With logistics, time management, catering and other important things. I literally was exhausted and had no creative energy to capture good shots.

Editors at the magazine didn't like the images.

____

We are not a commercial magazine, we do not need to "see" full outfits, we want an amazing picture.
Sending over some of our favorites you have done for us before, maybe you did shoot like this as well during the day?
Again, I hope you understand what we mean, we really like your work and hope we can get there with this story as well.

As you know our theme is "try harder", doing thing your own way and never give up.
How would you feel abut giving the story another go, the way you really do your images?


I took the opportunity and organized another shooting with Tania.

Thanks for the pictures! Totally better, great work!
A lot of pictures ; ) I'm going to go throu them with our art director tonight.

___

It was an important lesson to me. First of all communicate with editors / clients. Some bad shootings happens, and it's okay. No drama, no tragedy. Listen to each other and look for a solution. We all can work toward a happy end.
FW MAGAZINE
FW was a russian magazine. There were plenty of them that time and Paris was a desired location for all of them. Mostly because you have all the best showrooms and you can get good selections on clothes.

I got a cover and 7-8 pages in it.

What's interesting about this shooting was that when we were done with all the preparations (make-up / hair and fittings) it started to rain in Paris. And not only this it was getting dark. We were very late.

I didn't start to panic and decided for myself let's give a try and just shoot look by look. Concentration and focus helped me to look for solutions and to get in the end a nice and very cinematic story. You won't be able to convince anybody about shooting under the rain. But that time we didn't have any other options. I took the responsibility and honestly we all had a lot fun by shooting this.
STOLNICK RUSSIA
COLLEZIONI RUSSIA
SIMPLY THE MAG SPAIN
INTERVIEW RUSSIA
GRAZIE FRANCE
One day I got a message from Asia, a model I shot few weeks ago in Paris. She was happy to share with me her new appearance in a magazine. To my surprise it was a photograph from our shooting.

I didn't know anything about this. Magazine didn't contact me to get the permission to use this photograph. I called the model agency to find out how it could happen. It's not that I was angry, no! I just wanted to clarify things for me.

They agency indeed confirmed to me that they've given this image for the magazine. Without telling my anything. I asked them in the future to warn me about it because normally magazine have to pay for the usage. And if they put your name you better know under what image it will stand.

Anyway I was glad about this unexpected publication at Grazie France and went to buy the magazine to save the copy for my archives.
MARIE CLAIRE RUSSIA
It's a beautiful cover. Probably one of my favorite ones at the moment. Great portrait and the lay-out it looks very strong.

The only problem this cover was never used for this issue. Few weeks after the shooting magazine contacted me to say that they have to use a different image. Why? Simple because on the cover for this issue they need to have Dior instead of Chanel. And you can't do anything about it. I was pissed of for a few moments. Model and the agencies and all team wasn't happy at all. But If you really can't do anything so accept it and move forward.
SNC RUSSIA
NUMERO RUSSIA. FIRST SHOOTING
After Numero was launched in Russia I was desperately waiting to start to shoot for them.


I was obsessed with Numero Paris and their aesthetics. I knew that my photography will make russian version stronger. It took more than a year before I got the first opportunity to shoot for them. It was only one page but anyway I took this chance. Step by step. Nothing special but it took me more than 2 hours to get this image. When you work in team with fashion editor and art director and you have to confirm the image on the set it can take much longer than usually.

Fashion magazines are about fashion in first line. So clothes have to look great and then you find the pose that highlight it and then face expression and the lightning and so on. Every detail has to be perfect.

I can't say that was exactly what I was hoping for. I thought it will be like breathing pure oxygen on the set, but instead it became a boring and slow process to find the right angle. I needed to adapt and learn how to do it right.

I am glad with the results but my expectations were not met by this shooting. And it's my problem.
NUMERO RUSSIA. SECOND SHOOTING
Few months later I got another request to shoot a lingerie story for Numero Russia. My speciality! I couldn't wait to make this happen. I flew from Paris to Moscow to shoot 7-8 pages.

The model was confirmed without me and I had no influence on selection form looks for our editorial. Even when the mood board was confirmed with the magazine we needed to change concepts several times during the set. I wasn't inspired and without inspiration I can't make magic happen. At some point I just gave up and was just listening to the editor and was waiting when this shooting will end. I was frustrated and a little bit angry with me. I couldn't stand for my style and needed to adapt again. Images were okay. Thanks to the art-director and the editor we could look and find images that could please both sides.

It was another lesson for me to stand for myself and work on my communication skills to translate my ideas into great images
CELEBRITIES AND PORTRAITS
CELEBRITIES
перед съемкой. Создайте чек-лист: провода, зарядка, чистые линзы, батареи заряжены, удлинители, карты памяти, фильтры. Некоторые элементы возможно надо будет дублировать для подстраховки.

Фото-чемодан или сумка - очень оправданная инвестиция, которая в будущем спасет вашу спину. Вы всегда знаете, где и что у вас лежит, вы тратите меньше физических резервов на перемещение оборудование, тем больше у вас остается сил на проведение самой съемки.
SERGEY MAZAEV FOR COLLEZIONNI
ACTOR MATVEI LYKOV FOR SOBAKA
DAMIR DOMA FOR FUCKING YOUNG MAGAZINE
DAVID KOMA FOR MUGLER
TESLA BOY
PIERRE CARDIN
IVAN DORN
TAKADA KENZO
DOLPHIN
LOOKBOOK FOR MASHA KRAVTSOVA
BOOKS
1.5. Выставки и лекции, как фактор самоанализа и прогресса.
MINSK 2011
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
MOSCOW 2014
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
WORKSHOPS AND LECTURES
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
CURATOR. ELLIOTT ERWITT RETROSPECTIVE IN MOSCOW, 2015.
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
1.6. Фото агентство.
JULIA
This photograph became very popular on many photographer's platform and was highly acclaimed by professionals. Because of it's compositions and styling, chosen location and the emotional effect. Timeless.

It approved to me that I was on the right way.
ART BOARD PARIS
1.7. Как New York вскрыл как сильные, так и слабые стороны.
PHOTO AGENCIES IN NYC
I was meeting a lot of new people. Most of them were very curious about my work and were very helpful with giving contacts and opinions whom to meet and what to do.

I met with the Walter Schupfer and got some major advice for working in NYC. He said nobody is looking to get another Helmut Newton and I need to concentrate on one thing, one direction and become the best in the particular field. Then I can start to earn money.

Another agency took a look at my portfolio and without signing me sent my work to some of their clients to see how they would respond.

The obstacle was that I didn't have a working visa and nobody wants to have extra paperwork here.

Later I got contacted by Andre Werther and we met for a coffee to see if we can work together. I was very excited because this was a great opportunity for me to work with a very big international agency. We had a second meeting in Paris later but it didn't work out.

Pier59 opened their own talent agency and reached by me to set an appointment. It was also a major opportunity to start to work with such a big and well known studio. But few months later they've changed their plans and decided to not represent photographers.
PARIS
2015
I came to NYC in May, 2015. 2 weeks before my birthday. It's interesting because in 2010 I moved to Paris from Germany and it was also in May.

Originally I didn't have a plan to move to NYC from Paris. My idea was to stay for 6 weeks and see how things will go. Let it flow and trust into life.

I rented a room in East Harlem for my first 3 weeks. It was a decent place for the beginning.

I have to stay that NYC robbed my heart from day one. You can't compare this city to any other city in the world. It's not about beauty it's more about the energy that is storming from everywhere around you. You feel electrolyzed. It's a very dynamic and also very noise city.

Great architecture and terrible architecture at the same time. No taste, no style if you try to zoom in, but by zooming out the whole image make your mind explode. And I needed this explosion to happen in my life. After 5 years in Paris I was ready to restart and to reinvent my identity.

I made appointments at all major model agencies in NYC. It was easy for me, because my work was already known. Many models from Paris were working in NYC as well and they were using my photographs from our tests.

My friends bookers in Paris helped me to organize meetings with their colleagues in NYC.

I was received very well. I said that I might do some tests for them but it's not my main direction I am interested for now. Anyway they were excited to give me their models from the mainboard departments. Mostly girls who were already working with Victoria Secrets and models who went for castings for them. Because of my style. La femme fatale style.
FIRST SHOOTINGS
From day one I was excited about starting to shoot. Everything, literally everything was inspiring me. First of all the light. There was much more contrast in it, more volume. It fits to my photography a lot.

I was asking around by my new friends to get a location for my shootings. Mostly it were rooftops and I was more than just happy to have such locations.
FIRST SHOOTINGS
Then I got some great apartments for my next shootings. Through my connections to french diaspora in NYC. One friend let me shoot several shootings at his huge triplex in Chelsea.

This dynamic was such liberating for me. In Paris I felt stuck and framed. Here I could breath oxygen again. And I got great top models to shoot. My photography became much better and stronger.
FIRST SHOOTINGS
I was working with best agencies in NYC. The Society, The Lions, IMG, NEXT, ONE, Elite ...

I could keep my french style from Paris and wisely apply it for my shootings in NYC.
FIRST SHOOTINGS
Шцй
1.8. Los Angeles!
L.A.
I went to L.A. 2 times before moving here. Once for a photo shooting for a german magazine Flair. I was stunned by the lightning and locations I could get for this shooting.

L.A. is surrounded by nature. Ocean, mountains and so many trees and flowers everywhere. It became more important to me in the recent years.

You still have a big city with a fashion industry and plus music and film industry. It's definitely a new challenge and a big opportunity to get more photographs in color and more landscapes. To get new connections, to shoot not only models, but also actors and musicians.

Actually by moving into a new city you can re-write in a way your whole identity and with time discover something new about the world and yourself.

What I like about traveling and moving to live in new cities is that you always can start from the scratch, from a blank page. You can recreate and reinvent your self over and over again.
JULIA
P.S.

I always went to places that I fond interesting and challenging, where my intuition and heart took me. No comfort zone for longer than 2-3 months.