OSPHILIA MAGAZINE ISSUE 1
Honored to be featured on one of the covers of Osphilia’s inaugural issue, with a 12-spread retrospective of my fine art nude photography, accompanied by an interview. Huge thanks to the incredible team for bringing this beautiful editorial to life in print! Sometimes I’m asked about the process behind my work—especially within the realm of fine art, which can be a complex space in today’s climate of heavy censorship. That’s why I’ve posted the full interview on my blog. I talk about the creative approach, the challenges of working in this genre, and I also demystify some of the clichés often attached to photographers working in this field—gear, industry dynamics, and much more. If you didn’t get a copy of the magazine (it’s sold out), the full uncensored photo series and the interview are now available on my blog.
Can you tell us about your journey into photography? What initially sparked
your interest in this art form?
I’ve always had a camera in my hand for as long as I can remember. I used to play around with my dad’s cameras, especially his video cameras. When my sister, who is five years older than me, got a camera, I started to become more interested in photography. I was familiar with it long before I studied it in college. However, for quite a while, I didn’t see myself as a photographer. For many years, photography was simply another way for me to express myself, and in many ways, it still is.
How do you choose your subjects and locations for your shoots?
My subjects are usually friends or people I meet along the way who intrigue me and spark my curiosity. If someone compels me enough to want to tell their story, they become my subject.
Your work often features strong elements of nature and cinematic storytelling. How do you develop your concepts and themes for your series?
The story is always crafted by the subjects themselves, often on a subconscious level. Photography functions like years of psychoanalysis or therapy; it serves as a tool to unveil, dissect, and reveal one’s true self. I often rely on intuition, allowing the subject to guide the process instinctively. My role is simply to capture their essence at the right moment. The setting is secondary—it can be a plain white wall or a breathtaking landscape. The true story always lies in the spirit of the subject, which I have the privilege of capturing. As a filmmaker and cinema enthusiast, my work sometimes takes on a cinematic quality due to this background. This aesthetic education naturally influences my approach to composition and lighting, enhancing the subject’s story organically.
Can you discuss your creative process from conception to final image? What
steps do you take to bring your vision to life?
When I work on my projects, I prefer to spend hours, months, or even years conversing with my subjects before I take any photographs with my phone. My interest in capturing their essence grows over time, and eventually, I express my desire by saying, “I would love to take pictures of you someday.” Most of the time, they agree; however, it’s not an easy process for me. I tend to be shy, and unlike the common belief that photographers wield power through their cameras, I don’t feel that way at all.
The planning for a shoot depends on the subject; sometimes it flows easily, while other times it requires a lot of preparation. I prefer not to have other people on set. I manage the shoot like a friendly encounter between two individuals—similar to how I interact with my friends. I value one-on-one interactions because they allow me to give my full attention and be fully present, creating a space of trust. It’s already challenging to connect with a person’s vulnerability while also managing lighting, composition, and equipment, so having more people on set would disrupt the intimacy I strive to achieve. After spending time in that safe environment, the final image naturally reveals itself.
What role does post-processing play in your work? Can you describe your
editing workflow?
I shoot in medium format, 35mm, and digital, so you can imagine the challenge. The toughest part is selecting the final 10-12 images for a series. Once the photos are developed, I give them some space and revisit them after a few months. This way, I’m free of bias and can make better selections. As for software, I don’t do much beyond the basics anymore.
Photography can be both a solitary and collaborative process. How do you
balance these aspects in your work?
I am naturally a solitary person who values privacy and enjoys being alone. When I am on set, I bring out my extroverted side for a few hours, but then I return to the solitude I love. It is a good balance.
How do you stay inspired and continuously evolve your style and techniques?
I find inspiration and continuously evolve my style and techniques through various avenues. Traveling, spending time with friends, appreciating nature, reading books, watching cinema, and listening to music are my primary sources of motivation. My curiosity fuels my creativity, guiding my instincts and explorations. Instead of focusing on learning new techniques, I believe that mastering the fundamentals allows me to bend the rules and create my unique path.
What are some of the biggest challenges you face as a photographer, and how
do you overcome them?
The socio-economic issues within the industry pose a significant challenge, much like in the audiovisual sector as a whole. Technology evolves rapidly, with new and expensive equipment being released every year—shooting on film has become a luxury, for instance. Meanwhile, project budgets are shrinking, creating a frustrating paradox. I’m still navigating these challenges, but I try to focus on the positive aspects.
How do you see the role of photography in contemporary art and society?
I will answer this question by quoting Susan Sontag on photography: “Recently, photography has become almost as widely practiced an amusement as sex and dancing, which means that, like every mass art form, it is not practiced by most people as an art. It is mainly a social rite, a defense against anxiety, and a tool of power.” This observation remains relevant today, especially with everyone having a camera in their pocket. I would add that photography has become a significant distraction—an extension of the body that allows us to avoid relying on memory and to escape the present moment. It serves as a tool to validate ourselves to others, particularly in the age of social media. Despite this, I still practice photography as a form of art. It allows me to create a meaningful impact in the lives of others, to inspire, and to better understand the world around me.
What advice would you give to aspiring photographers who admire your work
and want to develop their own unique style?
I’m not one to give advice, but I would say to keep going, don’t stop, trust yourself, and remain open. Don’t focus too much on gear; it’s a scam.
Also: a selection of these photographs is available as gallery-quality limited edition prints in my store.
Discover the collection in the following links:
