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Camera works

There are several reasons which make this direction my favourite now:

First, this happens at my place where familiar home atmosphere helps me and where I feel comfortable, whereas when I work outside, weather and people might distract me.
Second, in the studio it is especially apparent that the camera unites people who are on its opposite sides.
Third, when I am moving and adjusting the lamps, delicately turning the person, I do feel that I am the creator of the future (shot).

However, it would be a strong exaggeration to say that everything here is in my power. Sometimes you think over and meticulously plan the concept of the future shooting well in advance or you even discuss the style of the portrait with the person but when you switch on the lamps and start taking the first pictures, some magic aura starts filling the studio, which brings some unexpected angles and spontaneous shots.

A photograph is born as a result of a magic play of Light and Shadow, and it is especially apparent when working in a studio. Any impediments are kept to a minimum so you are free to create whatever you wish but here Mr. Chance comes on stage and, if he is accompanied by Mrs. Fortune, you should be especially attentive to see the Beauty and then waste no time to press the shutter release button! To tell the truth, you do not always succeed in doing this and it’s often quite hard to pick up at least one good shot but when you manage it, the overwhelming joy makes up for all the difficulties and hardships of many hours of work.

body & gobo

When I was a child, I was fond of solving puzzles, charades and things like that. At that time there were so many various books and literature with different puzzles – simple and difficult, short and long ones – and I achieved remarkable success in solving them.

There are only few works in this album now, as I got the idea (and what is more important - the technical ability) quite recently. Moreover, inventing good puzzles by yourself turned out to be much more difficult than solving them!


I have always been attracted by beautiful forms, proportions and silhouettes and everything which brings esthetic pleasure. I don’t remember whether I have started the school or not when I first discovered that the ancient Greek vases are so much reminiscent of the lines of a woman’s body. What a great revelation it was! The world is amazing when it reveals things like that. It’s like “the golden ratio” – always appealing to the eye though sometimes it happens unconsciously.

Every time when after having developed the films I see the presence of Eros on a picture, I am quite surprised as during the shooting I am thinking about completely different things – about the curves, contours, lines – I am just looking for the beautiful geometry of light&shade. However, sometimes the space, filled with beams of light and body, reveals much more – not only the abstract perfection of intricate lines and curves but also the beauty of a live human body.

Black and white, light and shade resting on the smooth curves of a human body and especially flawless woman’s body.


When I started to describe this album, I was surprised to realize that I cannot explain, even to myself, what attracts me in doing portraits and how do I do them?

There is probably one major difference from my two other directions of work in a studio – an aspiration to make an individual portrait and understanding that it will never be the same with any other person. Individuality – that is the key word and my goal when working on a portrait.

I am working in a slow pace, helping the person, I am taking picture of, to get rid of unnecessary excessive expressions or too much of attitude, to reveal his authentic nature, not a fake one. While working, we exchange something personal and intimate. When you make a portrait, you become closer, you trust each other, which enables the person to feel free and relaxed, to reveal his inner being and my task is to capture this moment at the right time.

 digital preview

When working in the studio, first, I adjust and regulate the light and then I test the exposition and the balance between the sources of light. To do all this, I would use “instant” polaroids and install a special back on Hasselblad. However, they almost stopped producing polaroids thus it is impossible to buy them even in America. Therefore I had to buy one digital photo device, which later became legendary – a digital back from Hasselblad CFV II. Thanks to the matrix from Kodak, it has quite good plastics which is even similar to a film one.

From time to time such previews are quite nice and I thought I can show some here. Moreover, in the studio I am using black and white film only (or 8x10 inch sheets if I use Sinar).

A few pictures from this album are similar to their “senior” film versions. I have done it purposely so an attentive Traveler could see the difference even on the screen, though, of course, “day and night” is fully revealed in the printed works.